The remainder of his stay in Breslau, which was there expressively designated as a “fortnight-long Spohr festival,” was a continuous round of entertainments, musical soirées, &c. The “Neue Oder-Zeitung” describes Spohr’s advent as “an event, that had set all the educated classes of the town in commotion,” and further adds: “Everybody crowds forward to see the German master—all are anxious to say that they have at least had the satisfaction of a personal meeting. There is a peculiar gratification in standing opposite to the man who, though his eye rests upon us with the coldness of the stranger, has been long known to us in spirit as one of our best and dearest friends—whose works have recalled to us the golden dreams of our youth, and whose noble creations purify our souls. All in Germany who love music and who play, recognise the master to whom as musicians they are indebted for a great part of their culture, for many elevating feelings, many hours of happiness. Is it then to be wondered at that every one crowds around the master—that all are ready to acquit part of that debt to him by loud and honourable acknowledgements?”
His festive reception, which commenced at the very railway station, was followed in the evening by a grand serenade and procession by torch-light, for which all the musical and choral societies of Breslau had met to execute the choicest pieces of music, chiefly selected from Spohr’s operas, and which at intervals they gave singly, or executed in combination and en masse. At the grand concert that took place under his own direction at the spacious and handsome Aula, his own compositions alone were given: Overture to and air from “Faust,” the third symphony, with the “Lord’s Prayer;” and the “Breslauer Zeitung” designates it as “a musical festival singular in its kind in the city of Breslau, for that Spohr at the present time was the only one who had so much distinguished himself in every kind of composition, that the church, the concert room, and the theatre, could equally boast of his works; and that such a performance by such united powers (singing academy, theatrical orchestra, society of musicians, &c.) had never yet taken place there.” At the different banquets that were given to Spohr, his music in various ways formed part of the entertainment, and the songs that were written in his honour for the occasion had been adapted to appropriate melodies of his, which greatly increased their effect and frequently took the company by surprise.
At the express wish of the friends of music of Breslau, he determined to assist personally at a concert given in the smaller saloon of the Aula, before a great number of musical amateurs who had been invited; in his sextet and third double quartet, of which the “Breslauer Zeitung” speaks with much enthusiasm, and after dwelling upon the generally acknowledged specialities of his play, says further: “that the master at his present age still possesses all those specialities; that he plays with the fire and energy of a young man, and throws off the greatest difficulties with a power and boldness that are astonishing—that it is a thing quite unusual and was never seen there before.”
On the part of the directors of the theatre the happy selection of Spohr’s opera “Zemire und Azor” was made in his honour, which, with its charming melodies, never fails to make the most pleasing impression on the public on the first time of hearing; and with its music so truly appropriate to its subject, opens to us as it were the bright world of fairy land, which although more than ever fading away from the materialistic age in which we live, yet idealised by such sweet sounds, can never lose its fascination for the mind. This effect was produced on this occasion in Breslau also, as demonstrated by the brilliant reception with which it was welcomed, and the generally expressed wish for its speedy repetition under Spohr’s direction, who then also experienced great pleasure in those two fine performances of his work.—He was no less gratified by the organ concert given him by his friend Hesse in the fine church of St. Bernard, in which he exhibited his great mastery of that grand instrument in every possible manner. Devoted admirer and adherent of Spohr as he was, he was still loathe to part from him, when after a fortnight passed in Breslau he departed with the purpose of making an excursion in the Riesengebirge with his wife. As a guide intimate with the localities Hesse accompanied them, and was not a little gratified in witnessing the feelings of delight with which Spohr was impressed by the natural beauties of his Silesian fatherland. Neither was music, loved music forgotten, for it was not only the subject of daily discourse, but in the Riesengebirge itself the powerful serenades of the music chorists of Warmbrunn and Hirschberg greeted their master, Spohr.—The return journey to Cassel was made viâ Berlin, where Spohr found an invitation from the conservatory, which, although but thinly composed in summer, performed nevertheless a part of his oratorio “Calvary” and his psalms with double chorus in a brilliant manner, by way of compensation both to themselves and him for his inability to comply with the invitation they had given him almost every winter to come and either personally direct or hear his oratorio.
Meanwhile the political state of Germany, and more particularly of Hesse greatly grieved Spohr, and as the best consolation he abandoned himself to his musical studies, the zest for which did not leave him even in this time of trouble and sorrow. In the course of the months of October and November he composed his seventh quintet for stringed instruments (G minor, Op. 144, published by Peters), and three songs from “One thousand and one days in the East,” by Bodenstedt (also published by Peters).
It was in the summer of this year that Spohr experienced the malice and chicanery of the court. He had intended to start the first day of his vacation for a tour in Switzerland and upper Italy. He accordingly sent in his request to the Elector, which he considered a mere pro-formâ matter. To Spohr’s great surprise the answer was in the negative—no leave of absence would be granted. Hereupon Spohr set off without leave. He passed through the Via Mala, over the Splügen to Milan and Venice, and returned over the St. Gotthard pass to Lucern, and so back to Cassel, where he arrived before the vacation had expired. After a short repose he availed himself of the remaining time to pay a long-promised visit to Wehner the director of the orchestra at Göttingen, who, conjointly with all the lovers of music at that place, used every exertion to do honour and afford gratification to their esteemed guest. A serenade given by the members of the choral society on the first evening of his arrival was followed on the next morning by a musical greeting performed by the band of the regiment lying at Nordheim in the immediate neighbourhood. At a grand concert given at the Aula Spohr directed in person his symphony “Die Weihe der Töne,” which was followed by his potpourri on themes from Jessonda, performed by one of his most distinguished pupils, Auguste Kömpel, who when a boy had awakened the warmest interest on the part of Spohr by his remarkable talent, and after having studied under him for several years with the greatest success, was first appointed a member of the court orchestra at Cassel and subsequently Kammermusicus and member of the royal orchestra at Hanover.[41] As finale to the concert Mendelssohn’s music to Athalia, combined with a melodramatic poem, was executed by the members of the Göttingen choral society; and thus Spohr, who had been present at its grand rehearsal with the greatest interest, had the much desired opportunity of becoming acquainted with the only one of the grander lyrical compositions of Mendelssohn which he had not yet heard. On the following day there was also some excellent music.
Wehner had made arrangements for quartet music at his own house, and previous to a large dinner party, which he gave as a mark of respect to Spohr, some exceedingly fine music was performed with the most finished excellence, and to the delight of all present Spohr himself took part in his own sextet. The dinner was seasoned by a succession of appropriate toasts and piquante speeches, the chief subjects of which were music and politics, and lastly also “Spohr’s bold stroke”—the journey without leave—was drank amid the clang of glasses and the enthusiastic cheers of the company, who highly approved of the spirit he had shown. But the “bold stroke” was, as may be imagined, considered with much less approbation in Cassel, and a few weeks after Spohr’s return he was officially required by the general-intendant to explain and justify “his absence from Cassel without leave.” His explanation was considered unsatisfactory, and he was condemned to pay a fine of 550 thaler (82 l. 10 s.). He went to law; but the end of it was that he paid the money, which was handed over to the pension fund instituted by him.
It was in the midst of these troubles that he wrote a series of six pieces de salon for violin and piano and the 32nd. violin quartet (Op. 145 and 146; Leipzig, Peters).