[30] In the Vienna “Musicalischer Anzeiger” of the 23rd January 1834 is the following notice respecting it: “All who have had the opportunity of hearing and judging for themselves, know and feel that the esteemed maestro, in all his dramatic compositions, with the exception of the single, purely genial “Faust,” introduces his hearers less into the wondrous realm of fancy, than he leads them like a true friend, by pleasant meandering paths through the charming and balmy groves of harmony. This work also, breathes the same calm, reflective spirit that speaks to the heart, the same pure taste, the same style, as noble as it is elegant, the same constancy, unity and well-sustained interior connection, that so particularly characterizes all the works of this perhaps most substantial of all living composers, and which distinguish also no less this musical creation.”
[31] It was published by Haslinger, in Vienna, and the “Wiener Theater-Zeitung,” conducted by Ad. Bäuerle, speaks of it in the following manner: “A fit companion to Hummel’s ‘Clavier-Schule’ (pianoforte school); for in the same way that that opens a new department of education in pianoforte play, this embraces the whole art and science of violin play, and lays down clear principles for an art which hitherto has been taught more by oral precepts, or, at the utmost, by small fragmentary pamphlets. It required the penetrating, searching mind of a Spohr, who surpasses in complete scientific culture the authors of every existing school, to condense in systematic order so important a branch of art, which has been two centuries in acquiring shape; so that the violin, so prominent in all music, may be cultivated upon sure and proper principles, and its study carried out with certain success. How well the great maestro Spohr goes to work to effect this we shall shew in a subsequent clearer exposition of the contents; for he has not only copiously treated the scientific musical culture of the pupil by the clear outspoken method of the instruction in the explanatory text, assisted by the excellent and appropriate pieces which he supplies for practice, but also, in the mechanical part of the instruction, in which the mechanism of the human body is so beautifully and appositely shewn in all its bearings on the mechanical structure of the instrument. The excellent preface to the work presents rules of conduct both for the instructors and parents of pupils for the obviation of a host of evils which have hitherto arisen from false and erroneous modes of proceeding, from the circumstance that few lovers of music, and few teachers of music even, are sufficiently acquainted with these arcana of the art. Well and clearly does he enumerate the means of encouragement by which the industry of the pupil may be incited. How generous is the invitation of the famed master to the students of the violin, that they should impart to him their experience in the progress of their studies of his code of instruction for violin-play, for the further extension of his own knowledge! In this the great earnestness of the true artist for the attainment of the one great object is made conspicuously evident.”... The notice concludes with the following words: “The world-famed master, Spohr, has by this excellent work alone ensured an undying celebrity, and thereby added but a new and beautiful leaf to the laurel wreathe that encircles his brows.”
[32] The court theatre was closed at this time.
[33] English.
[34] “Schön Hannchen.”
[35] Its first performance in Vienna produced there a great sensation, as several gratifying reports, accompanied by a costly silver cup with suitable inscription, testify. The Vienna Musical Journal said in a very enthusiastic review, among other things: “It is again a work, that speaks its own master’s praise in elegant language: a pure whole, a thing apart of itself, all of one casting. The introduction, andante C sharp, breathes a cheerful repose which gradually assumes an impassioned character and prepares the hearer for the transition to the allegro, C minor, which, replete with treasures of harmony bears in itself the germ of an imposing effect.... The second theme, Larghetto, A major, is a conglomerate of deep feeling, warm fantasy, and of song replete with sentiment etc.; in this again each note speaks to the heart with irresistible force.... The scherzo, C sharp, opens with a bold freshness of appeal to life and cheerfulness, the sharp rhythms, the unceasing and restless competition of the wind and stringed instruments, the impetuous bursts of tonic power as opposed to the soft clear flowing cantilene of the alternative,—and, all these effected in a manner so original and striking as to defy expression in words.... For the presto finale, the poet of sound appears to have husbanded as much as possible the sum total of his creative powers.... Not one of the numberless beauties were lost upon the hearers, each theme in succession received the merited tribute to his mastery; and indeed the richly fantastic scherzo electreified all so unanimously, that a da capo was imperatively called for.”...
[36] As Spohr himself always considered this English musical festival (the Norwich festival) and the flattering reception given to him and his works in that country, as the most brilliant period in his active life, its description may reasonably find a place here in a somewhat more detailed form.
[37] The extracts given here and subsequently from the letters of Spohr’s relatives, may find their excuse in the circumstance that he himself had neither leisure nor inclination to write letters during this journey, but was greatly pleased when his female companions wrote home frequently (which of course was always in harmony with his own sentiments),—and he seldom allowed such a letter to leave without having expressed his full concurrence with the contents.
[38] As a member of the committee he had conducted the correspondence with Spohr relative to his coming, concerning which the following remarks appeared in the “Spectator”: “It is highly to the credit of the great master, that to the question what compensation he required for the time and exertions required of him during the journey, and for direction of the oratorio, he simply replied: ‘The committee will doubtless have no objection to pay my travelling-expenses?’ We are glad to learn that the modesty of this reply and Spohr’s coming to England without any further negotiation on the matter with the committee, was duly recognised by the latter, who thereupon came to the resolution to present Mr. Spohr with a sum of 100 guineas over and above the account of his expenses.”
[39] To similar observations in a letter to Hauptmann he adds: “I could not make up my mind to write one unnecessary note for the sake of brilliancy.”