Notices of a similar character—sometimes estimating the work from a purely human, at others from an artistic point of view were received from all sides after the appearance of the symphony, published as Op. 121, by Schuberth of Hamburgh; and then it soon became extensively circulated in the larger towns of Germany and England. This sufficed to afford Spohr the personal satisfaction, that in whichever way his intentions were considered, they were upon the whole rightly understood and estimated.
In November of the same year the Cassel musical world was thrown into a state of joyful excitement by the arrival of Lisst, who had gained the most enthusiastic applause in two concerts, which he gave in the theatre. Previous to his appearance in public, the more restricted circle of the lovers of music, had been greatly gratified by hearing him execute Spohr’s quintet for the pianoforte at a music party given by Spohr for his entertainment, at which he played also several of his own compositions in an insurpassibly masterly style. Spohr took the liveliest interest in the performances of his colleague in art, but he paid him the tribute of his highest admiration for his wonderful playing at sight; and in after years, as a proof of Lisst’s eminent talent in this respect also, he would cheerfully relate, how at a private soiree at Mrs. von der Malsburg’s, accompanied by Spohr on the violin, Lisst played his “Reisesonata” and his only just then published fantasia from the “Alchymist,” which was therefore wholly unknown to Lisst, but which to the great astonishment of all the auditory he played at sight with the most perfect finish.
On the 5th. December of this year the fiftieth anniversary of the death of Mozart was everywhere solemnized by the lovers of music; but as no public festival could be held in Cassel, Spohr got up a private performance of the society of St. Cecilia for the benefit of the poor, which was of a most solemn and impressive character. In the centre of the saloon the bust of Mozart, crowned with a laurel wreath, surmounted an altar hung with black drapery; on one side of the altar was assembled the numerous auditory, and on the other the singers in deep mourning. The “Ave verum” of Mozart was first sung; then a short oration in memoriam followed, and the conclusion was formed by the swan-song of the departed master, his immortal requiem.
In the beginning of the year 1842, Spohr composed six four part-songs, for soprano, alto, tenor and bass (Op. 120, published by Appel in Cassel), then his second trio for pianoforte, violin and violincello, which in the course of the year was followed by a third. These were published by J. Schuberth as Op. 123 and 124.
As during the winter Spohr had felt returning symptoms of his former liver-complaint, he availed himself this time of the summer vacation to go to Carlsbad, to drink the waters; but on the journey thither, at the pressing invitation of Mr. von Holleben, an acquaintance of his youth, and now, grand-master of the hunt at Rudolstadt, he paid him a visit. In the amiable family circle of his early friend the hours passed quickly and pleasantly in the retrospect of their youthful associations, and in the interchange of narratives and incidents of their later life; but amid all these, music was not wanting; and to hear it each time, an increased number of the lovers of music were invited. At these parties Spohr willingly played several of his newest compositions, and more especially afforded universal pleasure with the two trios, in which his wife took the pianoforte part. Upon these occasions he had more especially an enthusiastic auditress in the Princess von Bückeburg, who then resided in Rudolstadt, and who was very desirous of giving a fête at her own house in honour Spohr, had not Mrs. von Holleben, as she afterwards related with much triumph, following the example of the mayor of Norwich (whose comical proceeding towards the bishop of that place Spohr had previously narrated with much humour), declined in the name of her guests, although without previously enquiring of them, every invitation that they received.
During the succeeding month’s stay in Carlsbad, Spohr followed up most conscientiously the prescribed use of the baths and waters, and, besides the enjoined morning walks of several hours’ duration, he after dinner made more distant excursions into the beautiful and by him already previously so much admired environs. Between whiles, however, he managed to devote many hours to the study and practice of his noble art, playing assiduously with his wife, and charming the circle of his more immediate acquaintance with his play. He was forbidden, while taking the waters, to indulge even in a slight degree his constant impulse to the composition of something new; nevertheless during this time he composed a song: “Tears,” by Chamisso, which afterwards appeared in the “Album of Song” of Rudolf Hirsch (published by Bösenberg of Leipzic).
On his return to Cassel, Spohr was painfully moved by the intelligence of the approaching departure of his friend Hauptmann, who had accepted the proffered appointment of Cantor at the Thomas School in Leipzic. However heartily he might have rejoiced to see Hauptmann exchange his place in the court orchestra of Cassel for one so much more befitting and worthy of him, yet for the moment the sentiment of sorrow was the prominent feeling, he that would thenceforth be bereft of the society and intercourse of a man, who through a period of twenty years had stood so near to him both as friend and as colleague in art. As Hauptmann was an active and highly esteemed member of the St. Cecilia society, upon Spohr’s proposition, a farewell festival in his honour was given, at which the musical part of the entertainment consisted chiefly of Hauptmann’s compositions. But as Spohr was desirous of contributing at least one musical piece having especial reference to the occasion, he made choice of the pretty cantata composed by him for the “Golden Wedding” of his parents, which, with altogether new and appropriate words, inspired all hearers with the more interest as Spohr took upon himself the violin obligato part that formed the accompaniment to the pianoforte.
Towards the end of the year Spohr wrote a “concert overture in the serious style” (Op. 121, at Siegel’s, in Leipzic), which was performed at the first of the Casseler subscription concerts, and shortly afterwards at the Gewandhaus concert in Leipzic, and at both places produced the earnest and grandiose effect which the composer had in view. He next, at the repeated solicitations of publisher and friends, tried his hand at a species of composition which he had never till then tried, a sonata for the pianoforte alone, which after having accomplished to his satisfaction, he resolved to dedicate to his friend Mendelssohn. The latter having been made acquainted with it, wrote to him immediately and accompanied the expression of his thanks “for the high and distinguishing honour” with the following words: “If I could but express to you, how deeply I feel what it is to be thus able to call one of your works one’s own particular property, and how my heart joys not alone in the distinction conferred, but equally in your friendly thought of me, and your constant desire for my welfare. A thousand thanks to you for it, dear Mr. Kapellmeister, and rest assured that to the best of my ability I will endeavour to make my now obstinate fingers bring out the beauties of the sonata properly. But that is again only a pleasure that I shall be doing myself, and I should so like to render you one in return for it,” &c. The “obstinate fingers” must nevertheless have soon succumbed to the will of the master, for when upon a subsequent visit to Leipzic, Spohr had the gratification of hearing him play the sonata, it was everything he could have wished, and he recognised in such an execution the ideal which when composing it his fancy had conceived. Shortly afterwards, when it was brought out by Mechetti of Vienna, as Op. 125, and thereby became more widely known, Spohr received many gratifying notices of it from all sides. But he was especially taken by surprise on the receipt of a letter from Hungary, enthusiastic in admiration of the sonata, from the to him wholly unknown director of the choir, Seyler, of the Cathedral of Gran, in which he says among other things: “Times innumerable, in the hours when my duties permit me some relaxation, do I charm myself at the piano with that sonata you dedicated to Mr. Mendelssohn-Bartholdy. Carried away by the magic of its tones I now take up the pen, in behalf of all pianists of feeling who may not always have the opportunity to be enchanted by your greater musical productions, to render you the warmest thanks for this beautiful work.... I would moreover earnestly entreat you to let me know whether we pianists may encourage the hope of having such another composition, with which with two hands alone, we may discourse with the spirit of the world-famed German hero of musical science?” &c. Although this and many other similar testimonies might have fully removed Spohr’s former doubts as to whether he could contribute anything sufficiently satisfactory as a composer for the pianoforte, yet as may be readily imagined it was more in his interest to give his sole attention to the violin as concerted with pianoforte music; and his next works were six duets for pianoforte and violin (Op. 127), but which he could not finish and send in to his publisher Julius Schuberth of Hamburgh, who awaited them with much impatience, till after the lapse of several months, as just at that time he was more than usually occupied in perfecting his orchestra in the study of several larger works. He first of all wished to give Bach’s “Passion” on the coming Good Friday, and although, with the same intention he had previously rehearsed it several times with all the musical strength he could enlist in Cassel, yet years had since then elapsed; and it cost him a very great exertion of his patience and perseverance to bring his orchestra and singers up to such a pitch of excellence as to ensure the public performance of that extremely difficult music in a creditable and worthy manner.
After Spohr had toiled for long months in practising the choruses and the long-wished-for day of performance was drawing nearer and nearer, the required permission of the Prince was suddenly refused, without any reason being assigned for it; and it was not until a second application had been sent in, accompanied (to meet all eventualities) by a certificate of the clergyman, that he considered “the music selected for performance perfectly fitted for the church and for the day,” that the desired permission was granted; and that to the great satisfaction of Spohr and every lover of music in Cassel, it could be performed on the day appointed. But these obstacles repeatedly thrown in the way of its production were very nearly the cause of Spohr’s total departure from Cassel, for at that very time he again received from Prague a very advantageous offer of appointment there, respecting which he wrote as follows to his friend Hauptmann: “I am so weary of all the vexations I meet with here that even at my time of life I could almost make up my mind to leave this place, were not my wife so much attached to her family, and that she would be unhappy away from her friends. The opportunity now presents itself in an offer from the states of Bohemia of the post of director of the Prague conservatory of music vacant by the death of Dionys Weber, as an indemnifaction for the salary I should throw up here. Such a field for exertion and a residence in musical Prague would suit me well. But under the circumstances adverted to above I must of course decline it....” In Hauptmann’s very explicit reply to this he says among other things: “By Spohr’s leaving under the pressure of such existing circumstances, Cassel will become a desert as regards music,” but he nevertheless advises him to leave it without hesitation, and “will not yet relinquish the thought to see him move away from good, beautiful but oppressed Cassel, to majestic Prague.”