Louis Spohr's Autobiography / Translated from the German

by Louis Spohr

But the time pressed for the departure to Norwich, where professor Taylor,[38] the chief director of the whole musical festival, had already made the necessary preliminary rehearsals of Spohr’s oratorio, and now received the travellers to accompany them to the mayor of Norwich. On the following morning the mayor took his guests to hear divine service in the cathedral, which is of immense size and considered one of the finest in England. In a letter upon the subject Spohr’s relative thus expresses herself: “Of such a celebration of divine service, though it lasted nearly three hours, one is not readily weary; the heavenly music with which it is interspersed in various ways, I cannot describe, and it is performed with a purity and finish such as made great impression also on Spohr himself. The congregation did not sing at all, but always followed in their hymnbooks and prayer-books, the text of which (all taken from the Bible) I certainly could understand better than the sermon. The choir robed in white, with their tender tones, made an irresistible impression; words, music, and execution, all were in such perfect unison, that I could scarcely imagine a finer worship of the deity in heaven itself. When at the conclusion we passed through the spacious nave of the magnificent building with the whole congregation, the masses of people arranged themselves on either side to permit our passage, and looked at Spohr as something wonderful; many also, requested to be introduced to Spohr, and our kind mayor, who accompanied us and conducted Spohr, was quite happy, and proud of the whole scene. His daughter Mary, a charming maiden of fifteen, is also enthusiastically fond of music and particularly of Spohr’s; she plays herself very nicely on the piano, and when her father informed us that it would make her exceedingly happy to play a few notes with Spohr, he accompanied her in one of his favorite sonatas of Mozart...”

If Spohr had understood the English language, the impression made upon him by the divine service would perhaps have been greatly disturbed by the circumstance that the sermon preached upon the occasion was in a great measure levelled against his oratorio. Already before his arrival in Norwich, several persons of the puritanical party had raised their voices against its performance, and endeavoured in every way both in print and in the pulpit to shew that it was profane and sinful to make so sacred a subject as the sufferings and death of Christ, a theme for music. It thus so happened that on the Sunday morning on which Spohr visited the cathedral a zealous clergyman considered it his duty to hurl a crushing discourse against his oratorio: The “Calvary,” as it is rendered in English, and at the conclusion implored his hearers not to surrender their souls for one day’s pleasure, but to stop away from its performance. The “Monthly Chronicle” further observes on the subject: “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 demeanour 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 cannot for a moment doubt in which of the two dwelt the spirit of religion, which denoted the true christian!”

On the day after the performance of the oratorio the same journal says: “This day was to decide the fate of the oratorio “Calvary,” and had the decision been unfavourable the fame of Norwich was for ever departed. The public mind was therefore on the greatest stretch, for many persons feared the powerful influence of an adverse clergy. But a better spirit, a sentiment of right feeling triumphed, and hours before the opening of the doors the matter was decided. From far and near the auditory flocked in thousands, evincing a powerful feeling of excitement, and an enthusiasm which increased continually during the performance; and beyond all expectation, a complete triumph was achieved. It may justly be said of this oratorio, that a heavenly inspiration breathes throughout; more than any other work of modern times it is one sprung from the genial source of a warm heart, and cannot be heard with a tearless eye....”—The bishop of Norwich, who in accordance with his religious bias belonged also to the party of the opponents of the oratorio, and was therefore on a footing of reserve with the mayor, was nevertheless desirous to make the personal acquaintance of his celebrated guest, and sent him repeated notes of invitation to dine with him; as these however were written in English, they of necessity were handed to the mayor as interpreter of their contents, who each time transmitted to him in the name of Spohr a reply excusing his inability to accept it. At length it was proposed that he should be introduced to the bishop at one of the concerts, and to this the mayor assented on the condition that Spohr should promise him to meet the bishop half way only, and not move a step farther towards him, when he rose from his distant seat to approach Spohr.

This adherence to the stiff formality of English ceremony, which was a special and prominent feature in the grandiose arrangements of the mayor, was frequently the source of a variety of ludicrous scenes and discussions. Thus it was that Spohr, on the first day that he had gone to the rehearsal of his oratorio, sent thence in haste home to his female fellow travellers, who had remained behind, two gentlemen, strangers, with the invitation that they also should proceed thither, to share in the impressive sight which the magnificent St. Andrew’s Hall had presented to him immediately upon entering it. As may readily be imagined the ladies acceded to the invitation, and accepted unhesitatingly the attendance of the “gentlemen as yet unintroduced to them in the house,” by which they excited the astonishment of every one there, even to the very domestics; but they had the satisfaction of witnessing themselves, upon arriving at the hall, the enthusiastic reception with which the whole assembly greeted Spohr upon his entering the orchestra. Of this the “Monthly Review” speaks as follows: “I would have wished all the world had heard the thunders of applause, the very storm of greetings with which Spohr was received by the whole orchestra, down to the very boys of the choir. This reception of the great man, which drew tears of emotion from the eyes of his wife, must also have deeply moved him.” On the following evening the first concert was to take place, and Spohr was to perform in it his concertino “Sonst und Jetzt” (“Then and Now”); but as there were some difficult passages for the drum in it, he had requested the attendance of the young drummer-boy at his residence in the forenoon, in order to give him personally the necessary instructions concerning his part. When the neat little fellow made his appearance, it was however found that he understand no language but English, and in this predicament he was obliged to have recourse to the assistance of the mayor’s amiable little daughter, who then, although astonished at all the unusual doings in her father’s house, willingly endeavoured to explain in English to the strange boy the remarks made by Spohr in the French language, with many scientific expressions which were quite unintelligible to herself; but which at length she effected with a result so accordant with Spohr’s wishes, that for years afterwards he always recalled to mind with real pleasure the ludicrous but interesting scenes of that charming effort at intercommunication.

In the evening on which the first of the six monster-concerts took place in the spacious hall filled with nearly 3000 persons and 500 assistants, a symphony of Haydn and several song pieces were first given, among which also, the duet from Jessonda: “Schönes Mädchen”: but then as the “Times” expressed it, “all eyes were turned with expectancy towards the orchestra in order to greet Spohr upon his appearance with an enthusiastic applause....” “A deep silence of suspense and expectancy reigned at the commencement of his concertino, which he has called “Sonst und Jetzt,” in order to express the opposite character of the themes which therein denote the different style of the more ancient and modern compositions.” The opinion upon Spohr’s play then follows in terms of the highest praise, and concludes with the words: “His instrument speaks as eloquently to the heart as the finest melody. The accomplished mastery of his bow as of his fingers, is yet surpassed by the wonderful power of his mens divinior. The concertino, after a short but beautiful prelude, begins with a charming minuet of the old school, adorned with a whole wealth of harmonies, which seem to flow of themselves from Spohr’s pen; then follows a Turkish allegro, replete with fancy and overflowing with the brilliant lustre of modern execution.”

A letter written home and others describe the succeeding concerts: “The first sacred concert on Wednesday morning was wonderful; it lasted from half-past 12 to 4 clock, and comprised in the first part many fine old things of Purcell, Palästrina and others; and in the second and third parts the magnificent oratorio of Händel: “Israel in Egypt;” in which the choruses were executed with immense power, and the soli by the English church-singers in the most perfect manner. Spohr was inexpressibly delighted with it, and said, “English church-singers only are capable of rendering Händel’s sublime music in all its grandeur.” A peculiar custom which pleases me greatly is, that every time a chorus expresses the praise of God, or in any way adverts to God or Christ, the whole mass of people rise from their seats, and listen to it standing.—The order of the musical pieces in the evening concert was very much the same as in the previous one. It began with Mozart’s symphony in E flat major, which was followed by twenty other different subjects, among which were some pieces from operas by Mozart and Weber, and Spohr’s terzet from “Zemira and Azor,” which is never omitted at any English musical festival. Spohr played with his former pupil Blagrove his charming concertante in a surpassingly fine manner, and the effect was if possible greater than yesterday. Our hospitable host, who is exceedingly assiduous in his attentions, and accompanies Spohr every time on going and returning, seems also extremely happy to be near him, and to joy in his high repute. To-day is, in the opinion of everybody, the grand and most important day, on which Spohr’s oratorio is to be given. You all know that music, and how grand it is, but no one who was not present, can picture to himself what it was here, heard in such a place, faultlessly executed by such a mass, and listened to with such religious attention and enthusiasm. At and after the first part one remarked several exclamations of delight and wonder, but at the second a solemn emotion seemed to reign throughout the whole auditory, and more and more eyes became suffused with tears; not the women only, but strong men were deeply moved. And such an effect I consider as the highest and purest praise. They were happy moments for me also when afterwards crowds of gentlemen and ladies who did not like to intrude upon Spohr, came to me, to congratulate me, and assured me with much emotion, that this was the most sublime and beautiful thing that was ever composed, with many other similar expressions. The third part, which Spohr listened to with us with the greatest delight, comprised the requiem of Mozart and other pieces of sacred-music by Mozart and Bach....”

The public papers gave a detailed account of the deep impression made by Spohr’s oratorio, and among others the “Norwich Mercury” said: “The beautiful hall was crowded, nevertheless, even before the commencement, a breathless silence prevailed; a solemn religious sentiment reigned throughout the assembly. The inspired composer raised his staff—the staff descended—and mournful tones, low and faintly heard like distant wailings felt upon the ear, and made a powerful impression on the feelings: the brilliant hall seemed as though changed to a solemn temple—and every worldly thought was in an instant dissipated.—The overture reveals the character of the whole; the succeeding introductory chorus of the most agreeable softness and purity seems to foreshadow a peace momentarily witheld from us by a characteristic sentiment of sadness. The ensuing recitative of St. John relates the treason of Judas, and this is immediately followed in striking contrast by the aria of the betrayer, in which the disorder of the mind induced by the reproofs of conscience is expressed with great power and truth by the accompaniment. Now begins the part of Mary, with a charming air accompanied by the female chorus, and which, replete with tenderest devotion, appeals to our inmost feelings. In a difficult but very expressive recitative St. John prepares us for the entry of St. Peter, who has denied his master, and in the air sung by him, replete with intensity of expression, the composer in good taste and with correct judgment expresses the distinction between the reproving conscience of the erring apostle and the preceding hopeless agony of spirit in the betrayer. In the succeeding chorus reigns a simple majesty, a confidant reliance upon the justice of God, the expression of which is eminently successful.—In the scene which follows, in which the judgment hall is opened to us and Christ denounced before Caiphas, the inspiration of the composer has reached its culminating point: the manifold contending passions—the fiendish excitement of the populace, the humble resignation in the sorrow of the disciples, the exalted resignation of the saviour—all these are brought by him with such painful truthfulness of expression before the mind, that we feel it impossible to approach in music nearer to reality and truth than Spohr has succeeded in doing in his treatment of this pre-eminently tragic moment of the Redeemer’s life.

The second part begins with an introductory funeral march, and a striking chorus of the disciples expressive of their sympathy with and lamentations for the fate of their master. The ensuing chorus of the priests and people, who wildly and savagely taunt the redeemer upon the cross, is in our opinion almost the most powerful and wonderful passage in the whole work. The moving recitative of John and Mary is, moreover, intense in its effect, and their aria full of melody and grace, close upon which follows the gem of the whole oratorio, the unsurpassable terzet for two soprani and an alto, “Jesus, himmlische Liebe” (Jesus, heavenly love), with its sweetly soothing harmonies. This terzet is a master-piece of the purest finish; Spohr himself never wrote any thing more beautiful. The solemn earnestness of the chorus: “Allgütiger Gott,” with the canonic entrata at the words: “In seiner Todesnoth,” is indeed in conception and form the most original. In masterly recitatives John prepares us for the concluding scene, and after the last words of Jesus: “It is fulfilled,” the low sound of distant thunder is heard, which continues as though warningly during the fine and truly pious quartet. And now the orchestra seems to burst all bounds, and to contend in one wild storm, which the powerful hand of the composer can alone direct and allay. We have already heard many musical representations of storm and tempest, but as yet nothing at all like this; and we think that this immense effect is derived from Spohr’s seizing the powerful phenomena of nature more in their general grandeur than in their detail. We are struck with awe at the overpowering effect itself and with wonder at the mind that could so apply and direct all the resources of art. A recitative with splendid modulations leads to the short choral passage of the disciples, in which the divinity of the Redeemer is proclaimed, simply, firmly and powerfully. The final chorus, a prayer of the disciples full of sorrow and hopeful faith, is simple, melodious and elevated; a poetical outpouring in music, which must excite the sympathy of every human being who has a trusting belief in a future life.—When the last accord died away in its tragic grandeur, we looked around us—not a breath was to be heard, deep silence everywhere—all were impressed with feelings more powerful than they could express. It was a moment of holy reverential exstacy—no noisy outburst of rapture,—the impression was too overpowering for earthly utterance,—but it was a lasting one, and will assuredly never be forgotten.”

The English newspapers spoke also respecting Spohr’s manner of conducting, and the “Spectator” said on the subject: “It is truly delightful, wonderful in precision and firmness of tact, and at the same time accompanied by motions plainly indicative of the effect proposed.” And again: “We see in Spohr, a man who has a clear comprehension of his object, and knows his work as thoroughly in all its details as in the whole. At the rehearsal, whenever a note was missed, he sang it, in whatever harmony it might chance to be, and in doing so his voice was very melodious.”

The letter previously referred to says further, in reference to the following days, under the date of September 20th: “Yesterday, before the commencement of the evening concert, a deputation from the committee waited upon Spohr with the request to play his concertino once more; this, however, he decidedly begged to be excused compliance with, and the more so, as he had already agreed to direct in person the overture to and air from “Faust,” with which the second part of the concert began. Immediately he entered the orchestra for that purpose, he was again greeted with loud and long continued applause, in which doubtless the audience expressed, besides, their sense of admiration of his oratorio, which, according to English custom, could not be applauded at the time of performance. To-day Händel’s splendid “Messiah” was given for finale, which here also never fails to make its constant impression. And now at length the grand festival has terminated with all its pleasures and magnificences! It indeed required an inspired and corporeal strength of frame such as Spohr fortunately possesses, to hear in the short space of so few days the ordeal of six concerts of four and a half hours’ duration each, besides rehearsals and daily dinner parties, with unimpaired freshness of spirit—not to speak of all the visits paid him and the strangest requests from far and near, with which he complied as far as he could. The last day with its scenes of leavetaking, was also a very trying one to the feelings, and cost me I must confess, many tears.—The parting from all the kind people who, although we were strangers to them, had received us with such great heartiness, was very painful. When next I see you I will relate many wonderful instances of the amiability of these Englishmen, and of their admiration of Spohr, which even extended itself to me. But the estimation in which Spohr is held here in England, and the manner in which this is evinced on all sides is almost incredible”....