“1) A grand new Overture for full Orchestra (with bassoons also) by Spohr. 2) A grand Italian Scena for Bass by Righini, sung by Strohmeyer. 3) A grand new Clarinet Concerto, written expressly for this Festival by Spohr, and played by Director Hermstedt. After which 4) Concert-Master Fischer played upon the full Organ an artistic Introduction to the last Chorus from Haydn’s “Seasons”. This was followed 5) by a Double-Concert for two Violins (also of Spohr’s original-Composition) played by himself and Matthäi. 6) A grand Rondo from a Concerto in D-Major by Bernard Romberg, artistically played by Dotzauer, and lastly, Beethoven’s C-Major Symphony....
“Herr Spohr’s leading with a roll of paper, without the least noise, and without the slightest contortion of countenance, might be called a graceful Leading if that word were sufficient to express the precision and influence impressed by his movements upon the whole mass, strange both to him and to itself. To this happy talent in Herr Spohr I ascribe in great part the excellence and precision—the imposing power, as well as the soft blending of this numerous Orchestra with the voices of the Singers in the execution of “The Creation.”
“The full toned yet flexible voice of Madame Scheidler, so well adapted to a large church, the expressive execution of the Art-experienced Herr Methfessel, the magnificent bass-voice of Herr Strohmeyer, indisputably the finest I ever heard, reaching from Contra D to G on the second line, .... these three Solo-Singers, in unison with so many distinguished Virtuosi leading every Voice, where each sang or played voluntarily and with pleasure, justify me in affirming that this execution of “The Creation” was the most powerful, most expressive and in a word the most successful that I had ever heard.....
“The Overture with which the Concert began on the following day, belongs properly considered to the Master-pieces in modulation. Almost with every new bar, one Inganno succeeds the other, so that it may be looked upon as a connected series of studies in modulation. Probably, this restlessness, this vacillation, has reference to the character of the “Alruna” for which drama this was written. Great, however as the effect of this Overture may certainly be in a Theatre, yet as Concert-Music it did not appear to make the impression that might have been expected from its execution by so good and numerous an orchestra. This result can be explained in no other way than, in as much as continuously disappointed hopes depress the spirits and make the mind uneasy, so a music which to the end disappoints the expectations of the ear, never satisfies. A profusion of crooked and sometimes rough passages, leading to no object, to no repose, and to no further enjoyment, in which the Composer merely keeps the mind of the hearer in suspense become at length wearisome. The music of our forefathers 200 years ago, consisted of just such a profusion of crooked passages, without resting place—of numberless modulations and sustained terminals. But our worthy ancestors were as yet wanting in the flowers wherewith to embellish and make a little resting place interesting, that is: they were yet wanting in figures of Melody to entertain their hearers agreably in one Tone. But how easy would this have been to the admirable Spohr, who has so many of the beautiful flowers! The so called contrast in great Musical works is by no means to be despised; and least of all, the more it is grounded upon human perception and feeling.
“Of the effect of Herr Strohmeyer’s execution of the grand Scena of Righini, it is here unnecessary to say any thing further, since his splendid delivery has had full justice done to it above. Righini’s charming Song, and admirable instrumentation are sufficiently known. The Scena kindled the enthusiasm of the whole audience.
“Spohr’s Clarinet-Concerto in E-Minor, played by Hermstedt, is indisputably one of the most perfect Artistic Works of the kind. A grand and brilliant handling of the concerted instruments, combined with a most original accompaniment for the Orchestra, in which as it were each instrument even the kettle-drum, is obligato, and which for that reason requires a more than usually practised and attentive Orchestra, entitles it to be so considered. The third, Polonaise-like theme, is particularly remarkable, in which one knows not whether to admire most the brilliancy of the artistic Soli’s or the admirably elaborated Tutti’s—in the latter of which, the wind instruments seem actually to engage each other in a Thematic struggle. This artistic work is moreover conspicuous for the cheerful spirit that pervades it throughout. The admirable execution of this Concerto did great honour to the Composer, the Player and the whole Orchestra; and set thousands of hands among the audience in lively and continuous motion.
“Hereupon, Concert-Master Fischer surprised the Orchestra as well as the audience not a little, by falling in with the full Organ, in order to introduce the now ensuing chorus of the Finale, in C-Major. This novel kind of Music, of which nothing had been heard at the rehearsal, its artistic connecting of the Voices, its harmonious turns and masterly modulations made every member of the Orchestra doubly attentive. For some minutes he may have entertained the audience in this manner, when, he dwellt upon the dominant, and to keep the expectation yet more alive for the entry of the Chorus, by means of a sort of Organ-Point, formed a close at this interval. This was no sooner observed by Herr Spohr, than he lifted his roll of paper, and scarcely had the last organ-tone ceased, when the whole Orchestra fell in with the first single chord C of the Chorus; which C, the trumpets had then to sustain alone to the end of the bar. This was executed with the greatest punctuality. One of the trumpeters, only, preoccupied with the Organ play, had forgotten to change his mouth piece and so blew on in E-Minor. In an instant Herr Spohr made a motion, and nothing more of the second bar was heard from the Orchestra. Upon this Herr Fischer instantly fell in again with the Organ, continued his Prelude, and this time closed in form with the dominant C-Major—just as if that occurrence had been intentionally introduced.
“As no pause whatever in the music took place, so that, except by the Orchestra, it would have been difficult for any one to have remarked this oversight, it might have been wholly concealed, were it not to be feared, that experienced Musicians might laugh at my here repeated assurances of nothing but faultless and successful performances by an Orchestra collected from twenty leagues round, after one rehearsal only, in the same manner as our present newspaper political reports are frequently ridiculed.
“After a pause of about a quarter of an hour, Herr Spohr resumed his Violin, Herr Matthäi drew nearer to him, and now those two admirable Artistes, by their perfect execution of a double Concerto of Herr Spohr afforded us the most lively enjoyment of alternating admiration, astonishment and pleasure. They seemed frequently in open feud for superiority in artistic execution, then became as it were reconciled and poured forth together the most harmonious roulades upon the listeners. The precision, and the rapidity with which they took up and combined their respective tones, was worthy of admiration. The quite original Adagio of this masterly work which now followed, commenced with a Trio for two Violincellos, impressively performed by Herren Preissing and Müller, and for a Contra-Bass, by Herr Wach of Leipsic. When these three had ended their soft melodious play, a Quadro in long drawn and tied chords, as though from a Harmonica, but somewhat deeper, was heard. It had a thrilling, and sweet effect. Everybody looked round to the Bassi and Violi, from which this heavenly harmony seemed to have in part proceeded, but every arm was still, and the bows of Herren Spohr and Matthäi moved alone. It was they alone, also, who had played that Quadro—and with a purity, that upon the taking up of the Con-sonants after releasing the ties, the ear was frequently moved with a singularly deep felt charm. After a second similar Violincello-trio, the Quadro of the two Concerto-voices recommenced, and proceeded to the close. The last Thesis accorded fully with the science and beauty of the first.
“Upon this, Herr Dotzauer advanced to the front music-desk, and played, owing probably to the shortness of the remaining time, a Rondo, but a Rondo of masterly elaboration and very difficult, from a Violincello-Concerto in D-Major by Bernard Romberg, with an execution, roundness and force in the sustained passages, and with a lightness, purity, expression, and silvery tone in the melodic parts of the higher octaves, that in his performance of this Rondo alone, he displayed in the most admirable manner his great mastery of his instrument.