As regards Schumann’s position as one of the classical composers, Mr. Hadow in his Studies in Modern Music, says:—“It may be that much of his work will not survive the attack of time. There are few men who do not find that the greater part of their life’s record is written in water. But something at least will remain. He is not only the best representative, but the virtual founder of a distinct style in music; his sense of beauty is often exquisite; his feeling—pure, manly, and chivalrous. So long as melody possesses the power to soothe, to comfort, to sympathise, so long shall we turn in gratitude to one who could transmute the sorrows of his own heart into an elixir for the cure of others.”

Schumann’s chamber music compositions include:—

Spohr

Spohr’s Opinion of Beethoven’s Works

Had Spohr’s (1784-1859) musical powers, remarkable as they no doubt were, been equal to his individuality of character he would have outstripped all his contemporaries, not perhaps excepting Beethoven himself. He was essentially a self-centred man, a kind of solar mind whose constant tendency was to make satellites of whoever and whatever came within the sphere of his personal influence. This it is which tends to explain his criticisms of the men of his own time, such, for example, as that the opening of Beethoven’s C minor Symphony was unfitted for such a work; that the slow movement was tedious; the finale full of unmeaning noise; that the Ninth Symphony was “monstrous and tasteless”; and that Beethoven was, as a composer, “wanting both in æsthetic culture and sense of beauty.” This, too, it should be remembered, cannot have been any mere hasty or superficial judgment, seeing that Spohr lived in the city of Vienna for some time along with Beethoven, knew him personally, and must have had a fairly full opportunity of forming an opinion of his music. In contradistinction to this, however, we must place the facts that he admired the earlier works of the Bonn master, and was indeed the first to perform publicly at Berlin and Leipzig the String Quartetts op. 18. Also, strange to say, that in the year 1853 he brought out, in spite of much opposition, at the Cassel Opera-house, where he was the director, Wagner’s opera Tannhäuser! This curious combination of conflicting qualities is further exemplified by the fact that he, who was naturally a classic in style, and regarded Mozart as his model, wrote a number of his important works to a programme. Among these we find an orchestral symphony entitled “The Worldly and the Heavenly Influences in the Life of Man,” with a solo orchestra for the heavenly, and an ordinary full orchestra for the worldly influences. Another was called “The Seasons.” No doubt these works contain many fine ideas, and some movements are full of charm, but for all this, it cannot be said that they were really successful, or that Spohr thereby increased the scope of the symphonic form.

Characteristics of his Compositions

Mannerism of a pronounced kind, such as the frequent employment of chromatic progressions both melodic and harmonic, of enharmonic modulations, and a certain kind of constantly repeated phrase and cadence, these it is which prevent Spohr from occupying a place of the first rank among composers. His works for the violin, as a performer on which instrument he occupied a most distinguished position, are, however, of the highest order, and as a composer of chamber music, with which we are here chiefly concerned, his double quartetts, especially the earlier ones, display his powers in the most favourable light. In his ordinary quartetts, however, the leading violin is, generally speaking, used with undue importance. Still, when all is said, the fact remains that these works uphold a high and dignified standard, and while not in any sense an epoch maker in music, Spohr undoubtedly exerted a most beneficial influence on the art. His chief chamber music compositions are:—33 String Quartetts, 8 Quintetts, 4 Double Quartetts, 5 Piano Trios, 2 Sextetts, 1 Septett, 1 Octett, and 1 Nonett; also Duets for 2 violins, violin and harp, violin and piano, etc. There is also a Concerto for String Quartett, op. 131, with orchestral accompaniment.