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Spohr's ability as a composer of sacred music would have been more distinctly accepted, had it not been that Handel, Haydn, and, in more recent years, Mendelssohn, raised the ideal of the oratorio so high that only the very loftiest musical genius is considered fit to reign in this sphere.
Unfortunately, as I learned later, the general management had returned Spohr's opera to its author in such a curt manner as to offend him, and he complained bitterly of this to me. Genuinely concerned at this, I had evidently managed to calm and appease him, for the invitation mentioned above was clearly a friendly acknowledgment of my efforts.
The twenty-fifth anniversary of Spohr's connection with the court theatre of Cassel occurred in 1847, and was to have been celebrated with a great festival.
He played several of his own works at the opening Philharmonic concert, and the brilliant veteran of the violin, Viotti, to become whose pupil had once been Spohr's darling but ungratified dream, expressed the greatest admiration of the German virtuoso's magnificent playing.
Spohr's refinement and polish have been the characteristics of his playing; in Sivori it is wild energy the soul in arms the determination to be up and doing the daring impulse of youthful genius. Spohr's playing is remarkable for its repose and finish; Sivori electrifies by the most powerful appeals to the affections."
Spohr's unconscious and spontaneous force in this direction was the direct outcome of his remarkable power as a solo player, or, more properly, gathered its life-like play and strength from the latter fact.
She also made a powerful impression on the attention of both the critics and the public in Cherubini's "Faniska," and Spohr's "Jessonda," both of which operas are not much known out of Germany, though "Faniska" was first produced at the Théâtre Feydeau, in Paris, and contributed largely to the fame of its illustrious composer.
Spohr's style as a player, while remarkable for its display of technique and command of resource, always subordinated mere display to the purpose of the music.
Spohr's first public appearance was at a school concert, and such was his success that he was asked to repeat the performance at a concert given by the duke's band. More study ensued, and then, at the age of fourteen, he undertook to make his first artistic tour, and set out for Hamburg, carrying with him some letters of introduction.
Between Spohr's "Faust," written in 1813 and performed in 1818, and Boito's "Mefistofele," produced in 1868, many French, German, English, Italian, Russian, and Polish Faust operas have come into existence, lived their little lives, and died.
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