Soon after his arrival in Vienna, Spohr received a singular proposition from one Herr von Tost, to the effect "that for a proportionate pecuniary consideration I would assign over to him all I might compose, or had already written, in Vienna, for the term of three years, to be his sole property during that time; to give him the original scores, and to keep myself even no copy of them. After the lapse of three years he would return the manuscript to me, and I should then be at liberty either to publish or sell them. After I had pondered a moment over this strange and enigmatical proposition, I asked him whether the compositions were not to be played during those three years? Whereupon Herr von Tost replied: 'Oh, yes! As often as possible, but each time upon my lending them for that purpose, and only in my presence.'" He desired such pieces as could be produced in private circles, and would therefore prefer quartettes and quintettes for stringed instruments, and sextettes, octettes and nonettes for stringed and wind instruments. Spohr was to consider the proposition and fix upon the sum to be paid for the different kinds of compositions. Finding on inquiry that Herr von Tost was a wealthy man, very fond of music, Spohr fixed the price at thirty ducats for a quartette, thirty-five for a quintette, and so on, progressively higher for the different kinds of composition. On being questioned as to his object, Von Tost replied: "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.