Louis Spohr (1784-1859) was considered one of the most prominent masters of his time, but soon after his death almost his entire oeuvre was forgotten. His music was always involved in comparisons with contemporaries, who were without exception unfavorable. His symphonies were praised, but, it was often said, lacked the depth of Beethoven or the romanticism of Schumann. His operas were euphonious
… and atmospheric, but lacked Weber's dramatic sharpness; his oratorios were ambitious and beloved, but lacked Mendelssohn's accurate choirs. Spohr's chamber music also had to tolerate such treatment for a long time. His string quartets in particular were considered a second garnish for a long time, because Spohr did not adhere to the classical paradigm of the four equal rights instruments. With such sentiments increasingly being exposed as non-instructional prejudices, there is finally the opportunity to judge Spohr's music on its own merits. The result is that Spohr's melodic charm, his surprising sound effects and his masterful craftsmanship, never uninspired in much-writing, are finally heard. These CDs also prove that Spohr's music is good enough to stand on its own two feet and fully deserve the attention of today's music audience. (JvG) The result is that Spohr's melodic charm, his surprising sound effects and his masterful craftsmanship, never uninspired in much-writing, are finally heard. These CDs also prove that Spohr's music is good enough to stand on its own two feet and fully deserve the attention of today's music audience. (JvG) The result is that Spohr's melodic charm, his surprising sound effects and his masterful craftsmanship, never uninspired in much-writing, are finally heard. These CDs also prove that Spohr's music is good enough to stand on its own two feet and fully deserve the attention of today's music audience. (JvG)more
