Grove's dictionary of music and musicians

652 SPONTINI
problem Spontini either did not grasp, or felt
himself unable to solve. In all these respects
he was far surpassed by Cherubini and Weber,
each in his own line.
Whilst Spontini was busy in Paris composing
'Olympie,' the way was being prepared for the
most important event in the second half of his
life—his summons to Berlin. As no authentic
account of the circumstances of his going there,
or of his twenty-two years' sojourn and work in
the Prussian capital, has yet been published, we
must treat the subject somewhat in detail,
from MS. authorities hitherto unused, i King
Frederick William III., during a visit of two
months to Paris (March 31 to the beginning of
June 1814), heard Spontini's operM several
times, and was deeply impressed by them. Not
only was ' Cortez ' at once put in rehearsal at
Berlin and produced Oct. 15, 1814, but the
king, on the return of peace, occupied himself
with various plans for improving the state of
music in Prussia. An establishment for the
promotion of church music was thought of ; a
Conservatoire for music and declamation was
projected, like that at Paris, and, above all,
fresh impulse was to be given to the Court
Opera by engaging a conductor of acknowledged
ability. For this last post Spontini was the
man fixed upon. So far back as the autumn
of 1814 proposals had been made to him at
Vienna, offering him the then immense salary
of 5000 thalers (£750) on condition of his
furnishing two operas a year for Berlin. Spontini
was inclined to accept, but the plan did not
meet with the approval of the Intendant of the
Eoyal theatre—Count Briihl, who had succeeded
Iffland in Feb. 1815. Briihl's opinion was
entitled to the more weight as there had scarcely
ever been a theatrical manager in Germany who
knew his business so well. He was himself
an actor of great experience, had studied several
parts at Weimar under Goethe's direction, had
sung Sacohini's 'CEdipe' in French, and taken
other parts in grand operas at Rheinsberg,
Prince Henry's palace. He had even played
the horn for mouths together in the band. He
was no inefficient scene-painter ; had studied
drawing with Genelli, and archaeology with Hirt
and Bbtticher, had devoted some time to architecture,
and was personally acquainted with
nearly all the important theatres in Germany,
Paris, and London. Add to this his refined
taste, ideal turn of mind, and highsocial position,
and it will be seen that he possessed qualities
rarely found united in the person of a theatrical
manager. It is not to be supposed that Briihl
ignored the advantage of having so distinguished
an artist at the head of the Berlin opera. It
was, however, by no means certain that Spontini
had had the necessary practice as a conductor,
for in Paris no composer conducts his own operas.
1 The principal sources upon which we have drawn are papers
belonging to the royal theatres of Berlin, and to the Prussian Boyai
Fami^.
His ignorance of German would not only make
it difficult for him and his musicians to understand
each other, but would also prevent his
composing a German opera. As yet he had only
composed two operas of acknowledged merit,
and it was possible that he would not be able
to supply two new ones each year ; and if he
were able, the price paid for them would be
exorbitant, unless it were quite certain that as
interpreted under his own direction they would
mark a decided step in advance. At this point
therefore the negotiations hung fire, until the
king returned to Paris in July 1815, when he
renewed his offer to Spontini in person, and
accepted the dedication of a piece of military
music. At his request Spontini sent a collection
of his marches to Briihl, following it on Dec. 22,
1815, with a letter, in which he begged him to
exert his influence in arranging the matter.
This not availing, he got a personal appeal made
to him from the Prussian embassy. On March
28, 1816, Briihl returned an evasive answer,
and on Nov. 3 wrote decisively that the king
had settled the aflair adversely to Spontini's
wishes, and that he must abandon with regret
the pleasure of seeing him settled in Berlin.
The matter now appeared wholly at an end,
the king having yielded to the representations
of his Intendant. Spontini had at that time
no settled appointment in Paris, beyond that
of court-composer, and it is easy to understand
how tempting so brilliant an offer from Berlin
must have seemed. He now entered into a fresh
connection with Naples, and received in the
following year the title of maestro di cappella
to the King of the Two Sicilies. The French
king also gave him a salary of 2000 francs, and
thus all thoughts of Berlin seemed for the time
to have vanished.
In 1817 King Frederick William came to Paris
for the third time, heard ' Cortez ' in its new
form, was so delighted that he attended four
representations, and directed that the score
should be secured at once for Berlin. Spontini
received the title of Premier maitre de chapelle
Jionoraire, and was permitted to dedicate to the
king his grand 'Bacohanale,' composed for
Salieri's ' Danaides. ' This he was shrewd enough
to arrange for a Prussian military band, introducing
an air from the ' Vestale,' La paix ' est
en ce jour la fruit de vos conquStes. ' To confirm
himself in the king's favour he even composed
a Prussian national anthem, completed between
Nov. 25, 1817, and Oct. 18, 18l8. The words,
wi'itten by the king's private secretary J. F. !