The changes which Weber and his
followers effected, though less drastic, were in their results fully as
important as those of Gluck. In the orchestra as well as on the stage
he introduced a new spirit, a new point of view. What modern music owes
to him may be summed up in a word. Without Weber, Wagner would have been
impossible.
Louis Spohr (1784-1859) is now almost forgotten as an operatic composer,
but at one time his popularity was only second to that of Weber. Many
competent critics have constantly affirmed that a day will come when
Spohr's operas, now neglected, will return to favour once more; but
years pass, and there seems no sign of a revival of interest in his
work. Yet he has a certain importance in the history of opera; for, so
far as chronology is concerned, he ought perhaps to be termed the
founder of the romantic school rather than Weber, since his 'Faust' was
produced in 1818, and 'Der Freischuetz' did not appear until 1821. But
the question seems to turn not so much upon whether Spohr or Weber were
first in the field, as whether Spohr is actually a romantic composer at
all. If the subjects which he treated were all that need be taken into
account, the matter could easily be decided. No composer ever dealt more
freely in the supernatural than Spohr. His operas are peopled with
elves, ghosts, and goblins. Ruined castles, midnight assassins, and
distressed damsels greet us on every page.
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