s opera of "Faust," which, however, was not produced
at that time. He also wrote a cantata in celebration of the battle of
Leipzig, which he did not succeed in producing, and not feeling
satisfied with his position, and having various disagreements with the
management, the engagement was cancelled by mutual consent. During his
stay in Vienna Spohr was frequently in contact with Beethoven, and
though he admired that great master he criticised some of his
compositions very severely, and is said to have remarked that "Beethoven
was wanting in aesthetic culture and sense of beauty," a remark
difficult to understand in these later days. It is the more
incomprehensible from the fact that Spohr in after years was the very
first musician of eminence to interest himself in Wagner's talent, for
he brought out at Cassel "Der Fliegende Hollaender," and continued with
"Tannhaeuser," notwithstanding the opposition of the court. He considered
Wagner to be by far the greatest of all dramatic composers living at
that time. In 1815 he made a concert tour in France and Italy, during
which he met Rossini and Paganini, playing at Venice a sinfonia
concertante of his own composition, with the latter.

On his return to Germany in 1817 Spohr was appointed conductor of the
Opera at Frankfort-on-the-Main, where his opera "Faust" was now
produced, also "Zemire and Azor." Owing to difficulties with managers
again he left Frankfort after a stay of only two years, and his next
venture was a visit to England, where he appeared at the concerts of the
Philharmonic Society in London. His success was brilliant, for his
clear style and high artistic capacity, added to his reputation as a
composer, carried him into popularity, and the artistic world vied with
the public in doing honour to him. At his farewell concert, his wife
made her last appearance as a harp player, for on account of ill-health
she was obliged to give it up, and thereafter she played only the
pianoforte.

On his way home from England Spohr visited Paris for the first time, and
made the personal acquaintance of Kreutzer, Viotti, Habeneck, Cherubini,
and other eminent musicians, who received him with the greatest
cordiality. But the public did not seem to appreciate his merits, for
his quiet, unpretentious style was not quite in keeping with the taste
of the French.

On his return to Germany Spohr settled in Dresden, and remained there
until 1822, when he became Hofkapellmeister to the