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Scan 137
Grove's Dictionary of music and musicians, 1927
4 lines. Read by computer on 3 September 2026. Printed page 97. See the scan on archive.org.
1statement, it was principally through an eager study of the scores of the great masters, especially Mozart, that he acquired mastery over the technicalities of composition. His first public appearance was at a school-concert, when he played a concerto of his own with so much success that he was asked to repeat it at one of the concerts given by the Duke's band. Kunisch then insisted on his taking lessons from Mau-court, the leader of the band, and the best violinist at Brunswick. Spohr was only 14 when he undertook his first artistic tour. With a few letters of introduction in his pocket he set out for Hamburg. But there he failed even to get a hearing, and after some weeks had to return to Brunswick on foot, greatly disappointed, his slender means thoroughly exhausted. In his despair he conceived the idea of presenting to the Duke a petition asking for means to continue his studies. The Duke was pleased with the lad's open bearing, heard him, was struck with his talent, at once gave him an appointment in his band, and after a short time expressed his willingness to defray the expenses of his further musical education under one of the great recognised masters of the violin. Viotti and Ferdinand Eck both declined to receive a pupil, but the latter recommended his brother, Franz Eck, who was just then travelling in Germany. He was invited to Brunswick, and as the Duke was greatly pleased with his performances, an agreement was made that young Spohr should accompany him on his journeys and receive his instruction, the Duke paying one-half of the travelling expenses and a salary besides. In the spring of 1802 they started, master and pupil, for Russia. They made, however, prolonged stays at Hamburg and Strelitz, and it was on these occasions that Spohr profited most from his master's tuition. Latterly this became very irregular. Spohr, however, derived much benefit from constantly hearing Eck, who certainly was a very excellent violinist, though but an indifferent musician. At this period Spohr, who had an herculean frame and very strong constitution, often practised for ten hours a day. At the same time he composed industriously, and among other things wrote the first of his published violin concertos (op. 1) which is entirely in the manner of Rode, and also the violin duets op. 3. In St. Petersburg he met Clementi and Field, of whom he tells some curious traits; and after having passed the winter there without playing in public, returned to Brunswick in the summer of 1803. There he found Rode, and heard him for the first time. The playing of this great master filled him with the deepest admiration, and for some time it was his chief aim to imitate his style and manner as closely as possible. After having given in a public concert highly satisfactory proof of the progress made during his absence, he again entered on his duties in the Duke's band. An intended journey to Paris in 1804 was cruelly cut short by the loss of his precious Guarnerius violin, the present of a Russian enthusiast. Just before entering the gates of Göttingen the portmanteau containing the violin was stolen from the coach, and all endeavours to recover it proved fruitless. He returned to Brunswick, and after having acquired, with the help of his generous patron, the Duke, another, though not equally good violin, he started on a tour to Berlin, Leipzig, Dresden and other German towns. His success was everywhere great, and his reputation spread rapidly. At his Berlin concert he was assisted by Meyerbeer, then only a boy of 13, but already a brilliant pianist.
3In 1805 Spohr accepted the post of leader in the band of the Duke of Gotha. It was there he met and married his first wife, Dorette Scheidler, an excellent harp-player, who for many years appeared with him in all his concerts, and for whom he wrote a number of sonatas for violin and harp, as well as some solo-pieces. Having at his disposal a very fair band, Spohr now began to write orchestral works and vocal compositions of larger dimensions. His first opera, 'Die Prüfung,' which belongs to this period, was performed at a concert. In 1807 he made a very successful tour with his wife through Germany, visiting Leipzig, Dresden, Prague, Munich, Stuttgart (where he met Weber), Heidelberg and Frankfort. In 1808 he wrote his second opera, 'Alruna'; but this, again, never reached the stage, although accepted for representation at Weimar and apparently gaining the approval of Goethe, at that time manager of the Weimartheatre, who was present at a trial-rehearsal of the work. In the course of this year Napoleon held the famous Congress of Princes at Erfurt. Spohr, naturally anxious to see the assembled princes, went to Erfurt, where a French troupe, comprising Talma and Mars, performed every evening to a pit of monarchs. But on arrival he heard, to his great disappointment, that it was impossible for any but the privileged few to gain admittance to the theatre. In this dilemma he hit on a happy expedient. He persuaded the second horn-player of the band to allow him to take his place; but as he had never before touched a horn, he had to practise for the whole day in order to produce the natural notes of the instrument. When the evening came, though his lips were black and swollen, he was able to get through the very easy overture and entr'actes. Napoleon and his guests occupied the first row of stalls; but the musicians had strict orders to turn their backs to the audience, and not to look round. To evade this fatal regulation Spohr took with him a pocket looking-glass, and by placing it on his desk got a good view of the famous personages assembled.
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