ne, whose knowledge of music and skill in pianoforte
playing I had already observed when she sometimes gave her assistance
at the concerts of the St. Cecilia Society. As I had not the courage
to propose to her by word of mouth, there being more than twenty years
difference in our ages, I put the question to her in writing, and added,
in excuse for my courtship, the assurance that I was as yet perfectly
free from the infirmities of age." The proposition was accepted, and
they were married without delay on January 3, 1836. The bridal couple
made a long journey through the principal German cities, and were
universally received with great rejoicings. Musical parties and banquets
were everywhere arranged for them, at which Spohr and his young
wife delighted every one by their splendid playing. The "Historical"
symphony, descriptive of the music and characteristics of different
periods, was finished in 1839, and made a very favorable impression both
in Germany and England. Spohr had now become quite at home in England,
where his music was much liked, and during different years went to the
country, where oratorio music is more appreciated than anywhere else
in the musical world, to conduct the Norwich festival. One of his most
successful compositions of this description, "The Fall of Babylon," was
written expressly for the festival of 1842. When it was given the next
year in London under Spohr's own direction, the president of the Sacred
Harmonic Society presented the composer at the close of the performance
with a superb silver testimonial in the name of the society.

V.

Louis Spohr had now become one of the patriarchs of music, for his life
spanned a longer arch in the history of the art than any contemporary
except Cherubini. He was seven years old when Mozart died, and before
Haydn had departed from this life Spohr had already begun to acquire
a name as a violinist and composer. He lived to be the friend of
Mendelssohn, Meyerbeer, Liszt, and Wagner. Everywhere he was held in
veneration, even by those who did not fully sympathize with his musical
works, for his career had been one of great fecundity in art. In
addition to his rank as one of the few very great violin virtuosos, he
had been indefatigable in the production of compositions in nearly all
styles, and every country of Europe recognized his place as a musician
of supereminent talent, if not of genius, one who had profoundly
influenced contemporary music, even i