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Updated: June 22, 2025
Spohr's appointment to the directorship of the court theatre at Cassel occurred in the winter of 1822, and he confesses his pleasure in the post, as he believed he could make its fine orchestra one of the most celebrated in Germany. He remained in this position for about thirty years, and during that time Cassel became one of the greatest musical centers of the country.
And the probability is, that Master Sadler acted like most people who, when they suppose a man to be going down in the world, feel their respect for him sensibly decaying, and think it wise to trample him under foot, provided only in that act of trampling they can squeeze out of him their own individual debt. Like that terrific chorus in Spohr's oratorio of St.
The finest of all Spohr's symphonies was the outcome, a work which ranks high among compositions of this class. His toil on the new oratorio of "Calvary" was sadly interrupted by the death of his beloved wife Dorette, who had borne him a large family, and had been his most sympathetic and devoted companion.
In view of this important step the following description of Spohr's personal appearance may be interesting: "The front of Jove himself is expressed in the expansive forehead, massive, high, and broad; the speaking eyes that glance steadfastly and clearly under the finely pencilled arches of the eyebrows, which add a new grace to their lustrous fire; the long, straight nose with sharply curved nostrils, imperial with the pride of sensibility and spiritual power; the firm, handsome mouth, and the powerful chin, with its strong outlines melted into the utter grace of oval curves.
They are rehearsing Spohr's symphony, "Die Weihe der Toene," with Schumann's "Manfred" overture, and Beethoven's sublime "Leonora," for their first concert, and will do much for classical music by their four concerts. In Boston, in spite of our broken and disorganized condition, we have ten or a dozen Symphony concerts in a winter.
He, however, played the Concerto in his native city on a distinguished occasion, when Joachim was a soloist in Spohr's Gesang-Scene, Stockhausen in a magnificent Aria, and then Johann, pale, blond, slight, but calm and self controlled. The Concerto scored a considerable success at last, and the young composer was content.
Henrietta Sontag, the celebrated singer, heard him play Spohr's ninth concerto and "The Carnival of Venice," and was so charmed that she said he would become the German Paganini.
Spohr's next production was the fine symphony known as "The Seasons," one of the most picturesque and expressive of his orchestral works, in which he depicts with rich musical color the vicissitudes of the year and the associations clustering around them. This symphony was followed by his seventh quintet, in G minor, another string quartet, the thirty-second, and a series of pieces for the violin and piano, and in 1852 we find the indefatigable composer busy in remodeling his opera of "Faust" for production by Mr. Gye, in London. It was produced with great splendor in the English capital, and conducted by Spohr himself; but it did not prove a great success, a deep disappointment to Spohr, who fondly believed this work to be his masterpiece. "On this occasion," writes a very competent critic,
Spohr's experience seems to have produced upon him the same effect that many aspiring young players have since felt, viz., that he had better go on with his studies. He accordingly presented a petition to the Duke of Brunswick asking for means to carry out his desires.
The custom in force at that time that the decision concerning the production of works should not, as a rule, rest with one of the conductors alone, did not tend to make me any less fearful of declaring myself emphatically in favour of this work. In addition to this, it was Reissiger, who, as he had often boasted, was an old friend of Spohr's, whose turn it was to select and produce a new work.
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