In the autumn of 1839, Spohr was at the Norwich Musical Festival, where his appearance, after a lapse of sixteen years, excited much interest. He was then described as “a tall and stout man, with a noble head, a pleasing aspect, and a presence in which much simple dignity was engagingly blended with gentleness and modesty.” His Violin Concerto, played on that occasion was a newly-written work, exhibiting no mean share of his genius as a composer. It was remarked that in his playing he made no use of the more artificial resources of the modern school—not introducing into any of his highest flights a single “harmonic note,” a single touch of the instrumental _falsetto_—but producing every note in those flights by fairly stopping the string, in perfect tune, and with the utmost parity of tone. Great command of the bow, and lively rapidity of fingering, were also obvious. Broad and large in dimensions as in design, and marked by high creative genius, are some of the works that illustrate the name of this potent artist—works that summon to their exposition vocal and instrumental _multitude_:—but these it is hardly requisite here to particularize. It more concerns me to state that, of his active and intelligent career, one of the best results has been the formation of many a well-trained pupil, now holding honorable position in this or that great city of Europe. The principles and details of his mode of instruction—so far as the breathing soul could convey them through the medium of inanimate paper—are found in his great didactic work, “_Der Violin-Schule_” published at Vienna by Haslinger, and subsequently translated into French. For the benefit of English students, a version, prepared by Mr. John Bishop, of Cheltenham, and bearing the author’s own attestation of its fidelity, has been issued by Messrs. Robert Cocks and Co. With reference to the violin-compositions of this great master, the following warm (and perhaps but little exaggerated) tribute has been rendered by a critic in the “Spectator:”— “The writers of violin concertos are, for the most part, only known as such; but _Spohr’s_ compositions for his instrument display not only the brilliancy of their author’s execution, but the elevated character of his mind: we listen not only to the principal performer with wonder, but to the whole composition with delight. They have a character of their own—unlike and _beyond_ that of any similar productions of any age or country.”