Spohr in his autobiography says: "I recollect, when the 'Deux Journees' was performed for the first time, how, intoxicated with delight and the powerful impression the work had made on me, I asked on that very evening to have the score given me, and sat over it the whole night; and that it was that opera chiefly that gave me my first impulse to composition." Weber, in a letter from Munich written in 1812, says: "Fancy my delight when I beheld lying upon the table of the hotel the play-bill with the magic name _Armand_. I was the first person in the theatre, and planted myself in the middle of the pit, where I waited most anxiously for the tones which I knew beforehand would elevate and inspire me. I think I may assert boldly that 'Les Deux Journees' is a really great dramatic and classical work. Everything is calculated so as to produce the greatest effect; all the various pieces are so much in their proper place that you can neither omit one nor make any addition to them. The opera displays a pleasing richness of melody, vigorous declamation, and all-striking truth in the treatment of situations, ever new, ever heard and retained with pleasure." Mendelssohn, too, writing to his father of a performance of this opera, speaks of the enthusiasm of the audience as extreme, as well as of his own pleasure as surpassing anything he had ever experienced in a theatre. Mendelssohn, who never completed an opera, because he did not find until shortly before his death a theme which properly inspired him to dramatic creation, corresponded with Planche, with the hope of getting from the latter a libretto which should unite the excellences of "Fidelio" with those of "Les Deux Journees." He found, at last, a libretto, which, if it did not wholly satisfy him, at least overcame some of his prejudices, in a story based on the Rhine myth of Lorelei. A fragment of it only was finished, and the finale of the first act is occasionally performed in England. VI.