SPOHR (1784-1859). The fruits of Spohr's activity as a composer present a rather peculiar mixture of progressive zeal and conventional mannerism. He was not alive to the true greatness of Beethoven's genius, neither can he be compared with Weber as a dramatic writer. On the other hand, Spohr was instrumental in awakening a keener interest for the supernatural, and he aimed to illustrate certain definite ideas by means of musical expression. This trait is especially conspicuous in his symphonies; and these entitle him to be regarded as one of the founders of programmatic orchestral music. Again, Spohr was one of the greatest violinists of his day, and as the natural result, his writing for strings was highly effective. Consequently his double string quartets, his octets, nonets, etc., are especially valued in musical literature. Spohr contributed to the evolution of orchestration proper but little that was actually new. But here again the development of violin technique stimulated at least a freer and more elaborate manner of employing the strings. Prout suggests that his orchestration resembles to some extent that of Mendelssohn, in that the equilibrium is admirably adjusted; and the general color-scheme is further enriched by frequent use of soft harmonies for the brass. In minor details of instrumentation, Spohr made some interesting experiments similar to those of Berlioz, such as the introduction of a number of kettle-drums into the orchestra. Prout also refers to the earthquake chorus in "Calvary" where six drums are played upon by two performers, and rolls in seconds, thirds, and fifths for two drums together are to be found. But as a whole, his reputation is due chiefly to his great achievements as a violinist and to the incentive he gave to romanticism in music. II. WEBER[37] (1786-1826). Spohr's efforts in behalf of programmatic music are by no means to be undervalued; at the same time it must be borne in mind that even his finest works are eclipsed by those of Weber by virtue of the latter's marvellous imagination, unerring judgment in the choice of appropriate means of expression, and huge technique in orchestration. Weber began his career during what might be called the transition period in modern art. It would be here out of place to enlarge upon the general conditions attendant upon the awakening of the so-called "storm and stress" agitation in Germany. Weber's artistic development was, however, so inseparably allied with this movement that at least a brief review thereof would appear indispensable before proceeding to an examination of his orchestral works. [Footnote 37: See Appendix of Musical Illustrations, Examples 36 to 47.]