Edward Taylor an Louis Spohr in Kassel

D^r. Louis Spohr
Hesse Cassel
Germany

via Ostend


Gresham College
November 16. 1845

My Dear & valued Friend

I reveived, thro Cha^r Horsley, your most valuable and highly prized gift.¹ I do, indeed, thank you for it with all sincerity of heart. Valuable as it is in itself, to me it has a double nature, in² the kind record of your friendship which you have heen pleased to inscribe upon it.
I should have written to acknowledge the receipt of it before – but it was scarcely in my hands, whom there came such a beseeching letter from Margaret imploring me to send it directly, that the Opera was sent down to Harpford. I knew, that in her present solitude, nothing would render her so happy as this dear & valued present. I have, since, been into Devonshire, & we have endeavored (with the assistance of a very clever young friend of Maragaret) to sing as play as much of it as we could. I have also carried it to Herr Benedict, who has played it thro‘ to me. I can only, when alone, sit down & read it, which I do with wonder & delight, endeavouring to realize the beautiful & striking effects which appear.
I think the last Act is one of the most powerful Dramatic effects I ever met with. But this is one of your especial characteristics as a composer for the Stage. Music is a powerful and valuable Dramatic Agent: but it is³ one of which some composers neither know the value, the power, nor the right employeent. They mix a Drama & Music together & think they have wirtten an Opera: whom it sometimes happens that the two ingredients are like Oil & Vinegar – you may shake them together, but they won‘t unite. You know how – when & where to render Music a valuable ally to the Drama – to emplay its powerful agenty aright – to do that by its aid which could not be done so well – (if done, at alle) without it. No small advantage, let me add, was it to have the excellent & always-at-hand aid of your excellent lady: A poet willing & able to adopt your suggestions & carry them into effect.
Now then will you allow me the privilege, and will you pardon the rash boldness of differing with you in opinion on one or two points? 1^st I must say that I was disappointed to find no Ouverture, when I remember how uniformly succesful you have been in your Ouvertures – that they are known where (as in this county) your Opera are, comparatively, unknown – that they are stock-pieces at our best Concerts, I could not help wishing that you had made another valuable addition to this class of your instrumental music. I earnestly hope it may get become.
II. I cannot bring myself to think that the plan of the Italian Opera (of carrying on the dialogue in Recitative) is suited to our Northern languages. They are not suffieciently fluent & flexible – The common speech of the Italians easily slides into Recitative, but with the Teutonic languages I think it should only be employed when there is any strong passion & emotion to be expressed. I have shown, in my preface to King Arthur that Purcell‘s departure from the Italian model was the result of deliberate experience – and I have lately found that Mozart (when composing a German Oper) expressed the opinion wich I have long held. In a letter to his Father from Mannheim (Nov 12. 1778) Mozart says ”I will tell you an opinion of mine – that the greater part of the Recitatives in Opera should treated in this manner (that is spoken) and only sung when the words are well adapted to musical expression.“⁴
Now will you forgive me? If I had not entrenched myself behind Purcell & Mozart I should not have mentioned on this expression of my opinion.
I am now reading with great delight, a life of Mozart written by M^r. Edw^d. Holmes⁵, a gentleman whom you met at the Mayor‘s table at Norwich⁶, & who wrote that account⁷ of the Festival in a Magazine. I think you have no such life of Mozart in Germany. I am sure that Madam Spohr would read it with great interest.
My daughter Kate & her husband are in London, at our old quarters in Great James Street – where, almost involuntary - I of [???]⁸ expect to see you enter⁹ the room.
With best compliments to Madame Spohr,

I am, my Dear Friend
Yours, as ever,
Edw. Taylor