In the beginning of the year 1852 Spohr received a visit from the director of the Italian opera in London, Mr. Gye, who proposed to him to direct there his opera of “Faust” during his summer vacation, and for that purpose to write a connecting recitative instead of the dialogue in the original, by which means alone the urgent wish of the Queen for the performance of the opera on the Italian stage could be gratified. As Spohr at first considered that such a change would be impossible in many of the scenes, he felt compelled to decline the proposal; but they were not so easily to be pacified in London by so unexpected an answer, and after receiving several further pressing letters upon the subject, Spohr set himself to work, and, contrary to his own expectation, with such satisfactory results, that after its completion he expressed himself upon the subject in a letter of the 21st. May to Hauptmann in the following words: “You have no doubt already heard that at the express wish of the Queen of England and of Prince Albert I have remodelled my opera “Faust” for the grand opera. This work has afforded me great pleasure, and agreeably engaged me for a period of three months, in which I have been as it were transported completely back to the happy days of my youth in Vienna. At first, with the assistance of my wife, I had to alter the dialogue scenes in such a manner as to adapt them to composition. In doing this I have endeavoured to impart more interest to them than they previously possessed, and to make elision of those things which from the first had displeased me at many performances I had seen of this opera. I think and hope that I have succeeded in both. I had then to replace myself as it were in the same mood, and style in which I wrote Faust, and I hope that I have succeeded in this also, and that no one will observe a difference of style between the old and the new. The opera consists now of three acts; the second concludes with the wedding scene, and the third begins with a new entr’acte, which depicts with reminiscences from the trio of the torch-dance and the witches’ music the night of debauch passed by Faust, and then passes into a grand recitative by Mephistopheles, to which his air in E major is connected. After the disappearance of the witches a recitative by Faust follows, blended with intonations of former and later conception, and hereupon a shorter one between him and Wagner, which is succeeded by the concluding finale. My curiosity is now intense to hear the opera in its new form! Should nothing come of the journey to London, I hope to hear it soon at Weimar, as Lisst has asked for it in its new form for the court theatre there.”—The new recitatives thus reached London so early, that weeks before Spohr’s arrival there the study of the parts could be commenced; but at the first rehearsal he remarked that the in every other respect so greatly distinguished Italian singers, were not all he could have desired in their comprehension of this to them wholly foreign style of music, for which reason he immediately ordered daily thorough rehearsals under his own direction, in which he soon had the satisfaction of seeing that the whole of the singers entered more and more into the conception and spirit of his musical intentions, and submitted with the greatest willingness to his every nod, until every thing went so faultlessly that after the four last grand rehearsals which took place, and the lapse of three weeks, it was possible to give a perfect public performance.
To avoid all seeming reiteration of the numerous musical events and marks of respect, that in the interim were shewn to Spohr on this visit, it will suffice to mention one agreeable surprise only of which Spohr used to speak with delight in after years. This was the magnificent performance of his oratorio “Calvary” (des Heilands letzte Stunden) at Exeter Hall, under the excellent conducting of Costa; and which, performed by greater masses of assistants than at the memorable Norwich festival (700 singers and musicians), completely overpowered Spohr himself, as well as the enthusiastically delighted public; in so much, that he was obliged to agree in the remark of his friends, that the effect in many parts, especially that of the powerfully imposing choruses, was more immense than the composer himself had even conceived.
On Sundays, on which days, according to English custom, the theatres are closed, there are no concerts, and even all private music is hushed, Spohr gladly availed himself of the invitations he received to make excursions far away from the gigantic town, to recruit his energies somewhat in the fresh air, from the daily musical fatigue and excitement. Sometimes it was to Clapham and Kensington, on a visit to the Sillem and Horsley families; sometimes farther by railway to Sir George Smart’s pleasant country-house at Chertsey, which Spohr always called “the little paradise;” or to Professor Owen’s in Richmond-park; from which he always returned requickened in mind and body to the wear and tear of London life. Owen’s charming residence and his amiable manners were always subjects of agreeable recollection to Spohr, and he would often relate how the celebrated naturalist, in his kindly unassuming manner, would come out to welcome him on a hot summer’s day, clad in a light summer jacket and a broad-brimmed straw hat, but in honour of “his welcome renowned guest,” decorated with the Prussian order “pour le mérite,” and then till late in the evening devise every possible means of affording him pleasure and entertainment.
Meanwhile the rehearsals of Faust had prospered so well, that on the 15th. July the first public performance took place under Spohr’s direction, and a letter written home refers to it in the following manner:
“The opera went off incomparably well, and made a wonderfully powerful effect upon everybody. Indeed to us also it appeared in quite a new light—everything was so grand, so splendid! The new additional themes blend charmingly with the whole, and present singularly fine effects. Decorations, scenery, all are new, exceedingly brilliant and got up at great expense: orchestra, singers, and chorus, did their best, so that the Londoners say, that they have not seen so splendid an operatic performance for many years; and it was received throughout also with the most enthusiastic applause. That the foreign (almost all Italian) singers would have sung this German music with so much zest and pleasure, we could scarcely have believed possible. Those who most distinguished themselves were Mrs. Castellan (Kunigunda), Ronconi (Faust), Formes (Mephistopheles), and Tamberlik (Hugo). The latter charmed every body, for he has a splendid tenor voice with immense power, and he executed the beautiful air, accompanied by a magnificent chorus of forty male voices, with such fire and irresistible power that a da capo was called for by general acclamation. And Formes also, in his song in A major, which had greatly gained by the newly composed exceedingly beautiful introduction and recitative scene.... The whole house was in ecstacy, and in the intervals between the acts, and at the end, Spohr was warmly congratulated by a host of friends and admirers.” With similar success and with yet more perfect execution, the second and third performance of Faust, under Spohr’s direction, took place within a few days; after which he once more left England, accompanied to the place of embarcation by numerous lovers of music, who up to the last moment projected the most inviting plans for the next summer.
Agreeably impressed with the successful issue of his journey, he returned to Germany, picturing to himself the happy hours in which, as was his custom, he should again relate amid the expectant circle at home the interesting incidents of his visit. But this time the pleasure of once more meeting the members of his family was but too soon overshadowed, and Spohr beheld with much alarm the suffering constitution of his father-in-law, whose declining bodily strength had for some time past excited the utmost anxiety; but which assumed appearances so threatening during the last few weeks, that the anxious members of his family, despite their tender care and hopefulness, could no longer deceive themselves as to the near approach of his dissolution. With sorrowing hearts they beheld with every day the nearer approach of the long-dreaded moment; till on the 4th. October 1852, the loved and honoured parent breathed his last. This sad event cast an enduring shadow over Spohr’s life, for with his wife he not only lamented the loss of the beloved father, but mourned thenceforth that of the truthful friend whose feelings and sentiments had been so congenial with his own.
In the autumn of 1852 the duties of Spohr’s office were unexpectedly much alleviated by the nomination of a second director; an appointment which indeed, with his great activity and as yet unimpaired powers, he had never contemplated as a thing to be desired; but which was nevertheless the more agreeable to him from the circumstance that the newly-created appointment was given to his favorite pupil, concert-master Jean Bott, in order to secure his rejection of the post of musical director at Hanover, which had been offered to him under very favourable circumstances. By this means the Cassel court orchestra was saved the loss of so distinguished a member, and his services were fully secured. Spohr consented also very willingly to the requisitions of the managers of the theatre to abandon to the direction of the new co-director the operas proposed, and suggested but few modifications in this arrangement. By this means Bott assumed the direction of a number of light operas, chiefly French and Italian, but undertook as heretofore to lead as first violin in the orchestra under Spohr’s direction in all grand German operas, which were reserved to the latter. The repertory of the new and zealous co-director soon received an interesting addition, for in the beginning of the year 1853 Shakspeare’s “Midsummernight’s Dream,” with Mendelssohn’s music, was performed on the Cassel stage for the first time; on which occasion Spohr expressed himself in the following words in a letter to Hauptmann: “The most charming music that I know of Mendelssohn is indeed his music to the “Midsummernight’s Dream,” which has at length been performed here also, and right well. Bott practised the orchestra in the music most assiduously, and for me it was a great enjoyment to be enabled for once to listen as auditor to the performance of good music.” In regard to Spohr’s own labours the same letter then speaks further: “We are now studying ‘Tannhäuser,’ (which the Elector has at length permitted), and we shall give that opera for the first time on Whitmonday. It will be put on the stage with the greatest care and both decorations and costumes will be rich. There is much that is new and beautiful in the opera, but much also that is most distressing to the ear. For the violins and basses it is more difficult than anything I ever yet met with,” &c.
After the first performances of this difficult work had passed off in the most successful manner, Spohr wrote again respecting it to his friend Hauptmann: “‘Tannhäuser’ was performed last night for the third time, and again to a full house. The opera has gained many admirers, by reason of its earnestness and its subject-matter, and when I compare it with others produced of late years, I am also of their way of thinking. With much of what was at first very disagreeable to me I have become familiarised from frequent hearing; but the want of rhythm, and the frequent absence of rounded periods is still to me very objectionable. The manner in which it is performed here is really very fine, and in few places in Germany can be heard with such precision. In the enormously difficult ‘ensembles’ of the singers in the second act, not one single note was omitted last night. But with all that, in several parts these assume a shape which make a downright horrifying music, particularly just before the part previous to where Elizabeth throws herself upon the singers who rush upon Tannhäuser.—What faces would Haydn and Mozart make, were they obliged to hear the stunning noise that is now given to us for music!—The choruses of pilgrims (but which are here supported by clarinets and bassoons p.) were intonated so purely last night, that I became somewhat reconciled for the first time to their unnatural modulations. It is astonishing what the human ear will by degrees become accustomed to!” &c.
Although, as may be inferred from the above remarks, Spohr, with his preminent sentiment for harmony and beautiful, regular forms in music, could not readily reconcile himself to the tonic creations of more modern times, which so frequently deviate from them, he nevertheless took a lively interest in them, and was so anxious to become acquainted with Wagner’s newest opera “Lohengrin,” that while awaiting the as yet witheld permission of the Elector for a full theatrical performance, he determined upon giving some scenes from it at the ensuing winter concerts, and wrote to Hauptmann on the subject as follows: “If you wish to afford us a pleasure by sending something for our winter concerts, let me ask of you the music to ‘Lohengrin.’ I was in correspondence with Wagner this summer, and he knows that I am exerting myself to put that opera upon the stage here, also. He will therefore have no objection to a performance of some scenes beforehand. I shall write to inform him of it also upon a fitting occasion, but I do not like to renew the correspondence on the subject, without being empowered to ask at the same time for the score for our theatre, which will not be before next summer, for the birthday of the Elector.” This expectation was nevertheless not realised, for the Elector’s permission was neither granted for the day appointed, nor upon a subsequent reiterated solicitation; and in this manner Spohr was never enabled to hear this opera, which both in Cassel and other places he had repeatedly striven to do.