Louis Spohr - String Quartet No. 20 in A Minor Op. 74 No. 1 (1825)
Performed by the New Budapest Quartet.
I. Allegro Vivace - 00:00
II. Larghetto Con Moto - 14:16
III. Scherzo - 20:18
IV. Rondo - Allegretto - 24:34
"The Opus 74 string quartets are among Spohr's best. They are fine examples of his musical personality but based on the principles set down by Mozart."---Wilhelm Altmann writing in his Handbook for String Quartet Players.
The opening movement, Allegro vivace, begins in energetic fashion, its lyrical and lovely main theme has considerable swing to it. The minor is hardly present. A Larghetto con moto, which follows, is in the character of a song without words. The themes appear to be based on folk melody. Next comes a very rhythmic and powerful Scherzo. The tonal quality of trio section is particularly fine. In the finale, a Rondo, a dotted 16th--32nd note rhythm, of the kind of which Spohr was particularly fond, plays a prominent role in the expression of the various themes. Though the music has an French operatic tinge, it remains always tasteful."
Louis Spohr - String Quartet No. 21 in B Flat Major Op. 74 No. 2 (1825)
Performed by the New Budapest Quartet.
I. Allegro Vivace - 00:00
II. Larghetto - 10:20
III. Allegretto Con Variazioni - 15:49
IV. Finale - Allegretto - 23:59
"The Opus 74 string quartets are among Spohr's best. They are fine examples of his musical personality but based on the principles set down by Mozart."---Wilhelm Altmann writing in his Handbook for String Quartet Players.
The classically styled opening movement, Allegro vivace, has for its main subject a rather relaxed main theme which stands in sharp contrast to the more lyrical second melody. The second movement, a Larghetto, has the character of a song without words and is deeply felt. For a third movement, instead of the usual Scherzo, Spohr inserts an Allegretto with a march-like theme and a set of variations which in spirit and style find their origins in Beethoven and Mozart. The finale, also an Allegretto, has a some melancholy main theme but the contrasting second subject is lighter and happier.
Piano Quintet in D Major Op. 130 (1845) by Louis Spohr. Performed by the Hartley Piano Trio with Martin Outram (Viola) and Thelma Handy (Violin).
I. Allegro Moderato - 00:00
II. Scherzo - 8:41
III. Adagio - 15:30
IV. Finale - Vivace
The Piano Quintet in D major, Op. 130 was completed in September, 1845. The inclusion of the standard quartets scoring of two violins, viola and cello as part of the ensemble alters the terms of reference; the extra violin and the viola have to be catered for and, accordingly, the concertante style of the trios is reduced. Spohr combines three main solutions - contrasts between the piano and the string group, duets between the piano and a string instrument (usually the first violin) and concerto-like sections. The first movement is nearer to Beethoven than usual with Spohr in the way in which a concise motif is used at the core of the musical argument. The minor key Scherzo, which comes second, has an air of suppressed menace but its Trio is a complete contrast with sparkling waltz-like rhythms and a concerto-like role for the piano. The slow movement offers a peaceful refuge from the surrounding activity with a typical Spohr mood of dreamy sentiment and the finale crowns the work with a bouncy main theme and a richly romantic second subject for the strings where the piano takes the subordinate role.
