nciled himself to the light bow
introduced by Paganini, and all his work is distinguished by
sweetness, singing quality and a flowing melodiousness. He was fond of
chromatic harmonies and double stops, which imparted great sonority to
his playing. He was born at Brunswick, and early commenced to study
music. At the age of fifteen he played in the orchestra of the duke of
Brunswick, at a yearly salary of about $100. Later he studied and
traveled with Eck, a great player of the day, and upon his return to
Brunswick he became leader of the orchestra. His virtuoso career
commenced about 1803. Two years later he became musical director at
Gotha, where he married a charming harp player, Dorette Scheidler, who
invariably afterward appeared with him in all their concerts. They
traveled in their own carriage, having suitable boxes for the harp and
the violin. In 1813 he was musical director at the theater, "_An der
Wein_," at Vienna, where among his violinists was Moritz Hauptmann,
afterward so celebrated as theorist.

Soon after his arrival in Vienna, Spohr received a singular
proposition from one Herr von Tost, to the effect "that for a
proportionate pecuniary consideration I would assign over to him all I
might compose, or had already written, in Vienna, for the term of
three years, to be his sole property during that time; to give him the
original scores, and to keep myself even no copy of them. After the
lapse of three years he would return the manuscript to me, and I
should then be at liberty either to publish or sell them. After I had
pondered a moment over this strange and enigmatical proposition, I
asked him whether the compositions were not to be played during those
three years? Whereupon Herr von Tost replied: 'Oh, yes! As often as
possible, but each time upon my lending them for that purpose, and
only in my presence.'" He desired such pieces as could be produced in
private circles, and would therefore prefer quartettes and quintettes
for stringed instruments, and sextettes, octettes and nonettes for
stringed and wind instruments. Spohr was to consider the proposition
and fix upon the sum to be paid for the different kinds of
compositions. Finding on inquiry that Herr von Tost was a wealthy man,
very fond of music, Spohr fixed the price at thirty ducats for a
quartette, thirty-five for a quintette, and so on, progressively
higher for the different kinds of composition. On being questioned as
to his object, Von Tost r