George French Flowers an Louis Spohr in Kassel

3 Keppel Street
Russell Sqr
Feb 28^th 1848

My dear Sir,

Allow me to thank you for your excellent and flattering testimonial which I received and sent to Oxford the day after its arrival.
Court favor(???) obtains the highest positions in this country (though not so now in France - poor L. Philippe) and consequently Sir Henry Bishop was elected Professor of music at Oxford althought he has never shown in classical, Ecclesiastical or fugal compositions or proved himself a theorist nor has he the reputation of being one. He is the first whoever gained the Chair of Oxford without posessing the quailties that I have just named. I am not in bad spirits however about it because I have good reason to believe that I may yet obtain the Chair should I be(???) [???] and(?) longer than Sir Henry Bishop who is now more than 60 years old: In fact I am half promised it.
It would have strengthening my cause had you in your private letter to me mentioned that Madame Spohr would translate my „Essay“ (as I understand you to say I should do so) having mentioned this fact at Oxford.
I am now writing „an Essay on the Art of Sequence“ and am anxious to dedicate this work to you.¹ Which I shall do when I have your permission to do so. The theory of sequence appears to me to have escaped the notice of Theorists. A minute investagation of this subject is important in tracing out component parts of a musical idea. The term “musical idea“ is often spoken of, but as yet its meaning has not been scientifically explored. An idea consists these three qualities Rhythm, Weight and Sequence. By weight I mean the doubling of notes or sound in successions of chords and likewise the gravity and acuteness of the sounds employed. I am of opinion that a well ordered musical idea connected with sequence. It is in the nature of things to request one equals bearing of mutation. The very expressing “unity with variety“ seems to imply mathematical adjustment of sounds and it is my opinion that the failure of ideas is giving to an extant of order and connection² in the sucession of sounds that are unrhythmically introduced. I do not however mean that all voices must form a set(???) sequence but only that melody & harmony are made agreeable to our senses by the medium of the agencies I have end(???)[???] tried to explain.
Many of the most striking points of Händels oratoriums and your own, give acceptable proofs of the correctness of my views and if should like to have your opinion on the subject.
I will single out a pleasing [???] of melody introduced in the aria “Oh thou that tellest good tidings to Zion“ of Händel’s “Messiah“

In Ex II the true nature of Händel’s melody is scientifically reduced, of being a two linked sequence by adding one. At Ex III it will be perceived how much Rhythm affects a sequence and how the bad effects of a disordered Rhythm would impair and destroy it. Händel has made much of this in the ground sequence and in(???) [???]ling force lies in the manner in which one makes use of sequences.
It is impossible in a letter to give you more than an outline of my work, but I trust I have said enough to explain the nature and use of it. I(???) have(???) given(?) [???] [???] by which every grounded sequence may be made and imply(???) [???] for the florid sequences.
I hope Madame Spohr and her sister are well, pray present my wife’s best regards (In(???) which of(???) going(???)) to them and yourself. In the most sincere wishes for your³ continuation of good health believe me to be your constant admirer and most truly yours

G. French Flowers

N.B. Should my life be spared your vocal compositions shall be better known and un[???] in this country they require to be conducted by one whose knowledge is equal to his admiration of them.
I have just heard that Sir Henry Bishop is ill