In this manner the opportunity presented itself for another interesting task, and I immediately set about it with spirit. Although hitherto it had been usual with me to lose after a time all taste for my first essays in a new style of Composition, this Symphony was an exception to the rule, for it has pleased me even in after years. As I had previously practised it very carefully with my Orchestra, which was composed of the élite of the Frankenhausen Orchestra, although we could have but one rehearsal of it, it was nevertheless executed in an admirable manner at the Festival, and met, particularly from those who took part in it, with an enthusiastic reception. I felt highly gratified at this, more even than at the applause I gained as Solo-player. In Leipsic also, where the Symphony was executed in the Drapers’-House-Concert, it met with great approbation, as is shewn in a notice of the Musical Journal, which says: “Spohr’s new and yet unpublished Symphony excited the interest and admiration of all real lovers of music. Both in invention and elaboration, we consider it not only to surpass all that we know of the Orchestral-Music of this Master, but confess also, that for many years we have scarcely heard a new work of this kind, which possesses so much novelty and originality, without singularity and affection; so much richness and science, without artifice and bombast. We may therefore confidently predict, that when published, it will become a favorite piece with every great and skilled Orchestra, and with all serious and cultivated Auditories; but it requires both.”
Besides this Symphony, I had also written for the Musical Festival at Hermstedt’s earnest solicitation, Variations for the Clarinet, with Orchestral accompaniment, upon themes from the “Opferfest” which he performed with his usual skill. This Composition, (published by Schlesinger in Berlin as Op. 80) which carries out those themes with a more artistic Fantasia-like freedom, than as Variations, were greatly admired by Musicians and connoisseurs.
On the afternoon of the second day, the Musical Festival was followed by a family fête in the house of the projector. A few weeks before, a son had been born to him, who was now christened. He had invited the whole of the assistants to be godfathers, who now in holiday attire ranged themselves round the altar at the church. I held the infant son over the baptismal font, and gave him my name “Louis”. When the clergyman put the question to me and the other godfathers, whether we would take care that the child should receive a Christian education, a solemn “Yes” from full three hundred voices echoed through the church. A Chorus executed by the singers, with Organ accompaniment, terminated the holy ceremony.
At this second Festival my gratification was still more enhanced by the presence of my parents among the auditory, and that they took a lively part in the social gaieties under the tent. The projector was no less satisfied with his speculation, and thus this Festival terminated like that of the previous year, to the satisfaction of all.
Shortly after my return, I received intelligence from Hamburgh that my Opera, which I had sent in in the spring, had been at length distributed and that its representation would take place in the first days of November. I therefore applied for a month’s leave of absence for myself and wife, and set out with her, in the middle of October, via Hanover, where I intended giving a concert. As this was the first Opera of mine that was to be represented, I was in a state of great anxiety. The shock I felt may therefore be readily imagined, upon receiving a letter in Hanover from the manager Schröder, informing me that the Opera would not be produced, because the Prima Donna Madame Becker refused to take the part assigned to her, and that according to the theatrical laws she was perfectly justified in doing so.
The matter was in this wise: Previous to beginning my work, I had certainly taken pains to inquire of Herr Schwenke respecting the range of voice and the capabilities of the Hamburgh singers, and in accordance therewith, I had constructed the chief parts of the opera. But as I was without all experience in these things, I had neglected to ascertain the personal appearance of the singers, so that, for Madame Becker, a small, delicate figure, I had written the part of Donna Isabella, who seeks for her faithless lover at the Court of Princess Matilda disguised in man’s clothes, and at last challenges him to mortal combat armed cap-à-pied as a knight. So long as Madame Becker, knew no more about the Opera than her part, she was highly satisfied and began to practice with great zeal. But as soon as she had read the libretto, she declared, that she could not undertake the part, as she would make herself perfectly ridiculous. Exceedingly annoyed at my mistake I set off for Hamburgh, to remedy it wherever possible, and to induce the representation of the opera. I found old Schröder in very low spirits, and exceedingly dissatisfied with his theatrical untertaking. But he had every reason to be so. Several of the performers had failed to make their appearance, others came too late, and some had not answered the expectations entertained of them; his new Plays and Comedies had not been very successful, and empty houses had been the result. Of the four Operas which he had Music written for, two were already laid aside, because they had displeased. The one composed by Winter: “Die Pantoffeln” had lived through some few thinly attended representations; that of Clasing: “Welcher ist der Rechte?” had been withdrawn from the Repertoire immediately after the first night, for in spite of the strenuous efforts of Clasing’s numerous friends it was a complete failure.
With such disappointments, it was not to be wondered that the old grumbler should be mistrustful of my Opera also, and the more so since the most favorite singer of his theatre would not lend her aid. But when he offered me payment of the sum agreed for it, and at the same time laid it aside without having given it a trial, I was much hurt and protested against it in the most positive manner. At length after much entreaty, I obtained Schröder’s consent that I should make a trial of it with another singer, who hitherto had played only in secondary characters, and practise her in the rôle refused by Madame Becker. In this singer, a Madame Lichtenheld, I found great willingness and natural capacity, and when I had simplified the most difficult bravura passages of the part to her powers of execution, I succeeded well with her. Thus at length the rehearsals could be commenced, and when Schröder had heard one, and had become convinced that Madame Lichtenheld would fill the part satisfactorily, the first representation was announced for the 15. November. My former musical acquaintances one and all, including Romberg and Prell, offered their services to me in the two representations in which I was to lead the orchestra. Hermstedt, also, who had come to Hamburgh to give a Concert with my support, joined them, and undertook the First Clarinet part, for which there were some telling Soli’s and a concerted accompaniment or a Soprano-air. With the aid of these distinguished artists the Orchestra was considerably strengthened, and as the Singers and the Chorus were likewise well practised, I was already greatly pleased with the precision with which my music was performed in the rehearsals, and therefore entertained the most lively hopes that the Opera would please. Nevertheless on the evening of the representation, it was not without fresh anxiety that I took my place at my desk, for it had come to my ears that, Clasing’s friends would evince an inimical feeling towards me in revenge for the failure of his opera. But when the music had begun, I thought of that alone, and forgot every thing else around me. The applause with which the Overture was received, shewed me, nevertheless, that the unfriendly party would not make any demonstration; and so it proved. Almost every piece was applauded, and the approbation increased yet more towards the end of the opera. Upon the fall of the curtain a long sustained storm of applause was given to the composer.
I ought now to have been very happy, but was by no means so. Already at the first rehearsal some things in my music had displeased me. At every fresh rehearsal these were increased by something new, and before the actual representation, the half of my Opera had become distasteful to me. I now thought I well knew how I could have made it better, and was greatly annoyed that I had not discovered it before. Yes, indeed, had my work appeared to me in that light on my arrival at Hamburgh, I should have made no opposition to Schröder’s intention to lay it aside unperformed. But my musical friends were of a different opinion; they were exceedingly pleased with this work, and wished me every further success. Schwenke wrote a full and very laudatory criticism of the Opera, wherein he adroitly combated the well founded opinion of its opponents, that it contained many reminiscences of the Operas of Mozart, and while admitting that the form of the musical pieces as well as the whole design recalled Mozart, he assigned that, as a recommendatory feature and proof of its excellence. By this, made watchful of myself, I became sensible of the necessity to break myself of it, and think that I already fully effected it in “Faust” my next Dramatic work.
With my permission, Schwenke had some time before made a Piano-forte arrangement from the Opera, which was now published by Böhm in Hamburgh, and soon found an extensive circulation.
Of the Concert which I then gave in Hamburgh with my wife and Hermstedt, I recollect but little more than that the latter created a great sensation by his highly cultivated skill. But I have a clearer recollection of another Concert in Altona, at which we and several of our Hamburgh friends assisted, and in which all manner of little misfortunes befell us, which afterwards afforded matter for much merriment.