Spohr's principal works are as follows: oratorios and cantatas--"Das jüngste Gericht" ("The Last Judgment," first version, 1812), "Die Letzten Dinge" ("The Last Judgment," second version, 1826), "Des Heilands letzte Stunden" ("Calvary," 1835), "Der Fall Babylons" ("The Fall of Babylon," 1841), and "Das befreite Deutschland" ("Free Germany"), MS.; operas--"Die Prüfung" ("The Trial," 1806), "Alruna" (1808), "Die Eulenkönigin" ("The Owl Queen," 1808), "Die Zweikampf mit der Geliebten" ("The Lovers' Duel," 1811), "Faust" (1818), "Zemire und Azor" (1819), "Jessonda" (1823), "Der Berggeist" ("The Mountain Spirit," 1825), "Pietro von Albano" (1827), "Der Alchymist" ("The Alchemist," 1830), and "Die Kreuzfahrer" ("The Crusaders," 1845); church music--mass for five solo voices and two five-part choruses, opus 54: three psalms for double chorus and soli, opus 85; hymn, "Gott du bist gross" ("God thou art great"), for chorus, soli and orchestra; symphonies--No. 1, E flat, opus 20; No. 2, D minor, opus 49; No. 3, C minor, opus 78; No. 4, "Consecration of Tones," F, opus 86; No. 5, C minor, opus 102; No. 6, "Historical symphony," G, opus 116; No. 7, "The Earthly and Heavenly in Men's Lives," for two orchestras, C, opus 121; No. 8, G minor, opus 137; No. 9, "The Seasons," B minor, opus 143; eight overtures, 17 violin concertos and concertinas, 15 violin duets, 33 string quartets, 8 quintets, four double quartets, 5 pianoforte trios, 2 sextets, an octet and a nonet, and many songs. Schletterer's catalogue of his works (published by Breitkopf and Härtel) carries the opus numbers up to 154, many of the _opera_ embracing six compositions, and there are a dozen compositions without opus numbers, among which are some of his operas and oratorios. In all he left over two hundred works, in all fields of composition. It is difficult for us at this day to fairly estimate the importance of Spohr as a figure in musical history. Dates show us that his finest works chanced to see the light about the same time as the over-shadowing masterpieces of Weber and Mendelssohn. Thus "Faust" produced in 1818, was eclipsed by "Der Freischütz," in 1821, and his "Calvary" (1835) by "St. Paul" (1836). His "Last Judgment" alone had a free field for a time. But though we with over half a century's perspective find the masterworks of Weber and Mendelssohn still in the foreground, while Spohr recedes into the middle distance, the contemporaries of these composers saw them standing apparently shoulder to shoulder at the front of the picture. Spohr's influence upon those who lived when he did was very considerable, and, more than that, there are certain features of his style, which, it cannot be doubted, presented themselves as attractive models to his immediate followers along the path of musical progress.