dignity of his art with unflinching
independence. Even the mistakes that he made, as for instance his
criticism of Beethoven, bore the strongest testimony to his manly
straightforwardness and sincerity in word and deed. He was a most
prolific composer, leaving over two hundred works in all. His violin
concertos stand foremost among his works, and are distinguished as much
by noble and elevated ideas as by masterly thematic treatment, yet there
is a certain monotony of treatment in all, and his style and manner are
entirely his own.

As an executant Spohr stands among the greatest of all time. In slow
movements he played with a breadth and beauty of tone, and a delicacy
and refinement of expression almost unequalled. His hands were of
exceptional size and strength, and enabled him to execute the most
difficult double stops and stretches with the greatest facility. Even in
quick passages he preserved a broad, full tone, and his staccato was
brilliant and effective. He disliked the use of the "springing bow,"
which came with the modern style of playing.

Spohr had a great many pupils, of whom the best known were Ries, Ferd.
David, Blagrove, Bargheer, Koempel, and Henry Holmes. He was also
considered one of the best conductors of his time, and introduced into
England the custom of conducting with a baton.

Amongst the amusing episodes in the life of Spohr was one which took
place in London, when a servant brought him a letter desiring M. Spohr
to "be present at four o'clock to-morrow evening at the closet of the
undersigned," Spohr had not the faintest idea as to the identity of "the
undersigned," nor the least inkling of that gentleman's design. He
therefore replied that he had an engagement at that time. To this note
he received another polite epistle asking him to be good enough to
honour the "undersigned" with an interview, and to choose his own time.
He therefore made an appointment, which he kept punctually, and on
arriving at the house to which he was directed, he found an old
gentleman, who was very genial, but who could speak neither French nor
German. As Spohr spoke no English the communication between them was of
necessity carried on by pantomime. The old gentleman led the way into a
room, the walls of which were literally covered with violins, from which
Spohr gathered the idea that he was to pick out that which he considered
the best. After trying them all he had to decide between the merits of
half a dozen