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Ludewig Spohr

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Author Topic: Ludewig Spohr  (Read 75 times)
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« on: May 05, 2022, 05:43:34 am »

Ludewig Spohr was born at Brunswick in 1784.

The highpoint of his popularity in England was reached with the visit of 1843, when The Musical World rhapsodized about him as "the great Spohr the immortal while yet living - the mighty master, who has stamped on his contemporaries that impression to which we are rarely susceptible but through the medium of an age's authority". In other words he was set on almost as high a plane as the great Benjamin is in our own days.

Spohr accepted the substance of received classical forms but filled them with music that, employing a highly distinctive melodic and harmonic idiom, proved wonderfully apt to depict the fluctuating emotions of the human soul.

His intensification of late Mozartian chromaticism, coloured by Cherubini's harmonic boldness, combined with the rhapsodic melodiousness of the Viotti School, and confined within well-proportioned Classical forms resulted in an idiom that fascinated and inspired younger contemporaries.

Here is his Piano Quintet in D Major opus 130, from 1845. It consists of four movements. I don't know why it is described as number two, because as far as I know he composed only the one piano quintet.

The four movements are:

I. Allegro moderato
II. Scherzo: Moderato
III. Adagio
IV. Finale: Vivace

And the performers were the Hartley Piano Trio with Thelma Handy, second violin, and Martin Outram viola.

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« Reply #1 on: May 11, 2022, 06:38:10 pm »

I believe he numbered his quintet for piano and winds as No. 1.
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