eplied: "I have two objects in view: First, I
desire to be invited to the musical parties where you will execute
your compositions, and for that I must have them in my keeping.
Secondly, possessing such treasures of art, I hope upon my business
journeys to make extensive acquaintance among the lovers of music,
which may then serve me also in my manufacturing interests." This
singular bargain was duly consummated and faithfully carried out, and
the wealthy patron proved of great service to the Spohrs in procuring
their housekeeping outfit from various tradesmen with whom he had
dealings, and he would not suffer Spohr to pay for anything, saying
only, "Give yourself no uneasiness; you will soon square everything
with your compositions."

The most important of Spohr's works is his great school for the
violin, published in 1831. He left also a vast amount of chamber
music, fifteen concertos for violin and orchestra, nine symphonies,
four oratories, of which "The Last Judgment" is perhaps the best, ten
operas, many concert overtures, etc.--in all more than 200 works, many
of them of large dimensions. His best operas are "_Jessonda_" (1823),
"Faust" (1818), "The Alchemist" (1832) and "The Crusaders" (1845). His
orchestral works are richly instrumented, and the coloring is sweet
and mellow, yet at times extremely sonorous.

During his residence in Vienna, Spohr met Beethoven many times. He was
one of the first to introduce the earlier quartettes, in his concerts
throughout Germany, and valued them properly. But in regard to the
Beethoven symphonies he placed himself on record in a highly
entertaining manner. He says of the melody of the famous "Hymn to
Joy," in Beethoven's ninth symphony, that it is so "monstrous and
tasteless, and its grasp of Schiller's ode so trivial, that I cannot
even now understand how a genius like Beethoven could have written
it."

[Illustration]

Book Fifth.

THE

Period of the Romantic.

WEBER, PAGANINI, SCHUBERT, BERLIOZ, MEYERBEER, MENDELSSOHN, SCHUMANN,
CHOPIN, LISZT, WAGNER; THE VIRTUOSI; MUSIC OF THE FUTURE.

CHAPTER XXXI.

THE NINETEENTH CENTURY, THE ROMANTIC; MUSIC OF THE FUTURE.

In ordinary speech a distinction is made between the musical
productions of the eighteenth century and those of the next following;
the former being called _Classic_, the latter _Romantic_. The terms
are used rather indefinitely. According to Hegel, whose teaching
coincided with the l