Louis Spohr - Works

Works

See also: List of compositions by Louis Spohr

A prolific composer, Spohr produced more than 150 works with opus numbers, in addition to a number of works without such numbers. He wrote music in all genres. His nine symphonies (a tenth was completed, but withdrawn) show a progress from the classical style of his predecessors to the program music of the ninth symphony, Die Jahreszeiten (The Seasons). Between 1803 and 1844 Spohr wrote more violin concertos than any other composer of the time, eighteen in all, including works left unpublished at his death. Some of them are formally unconventional, such as the one-movement Concerto No. 8, which is in the style of an operatic aria, and which is still periodically revived (Jascha Heifetz championed it), most recently in a 2006 recording by Hilary Hahn. There are two double-violin concertos as well. Better known today, however, are the four clarinet concertos, all written for the virtuoso Johann Simon Hermstedt, which have established a secure place in clarinettists' repertoire.

Among Spohr's chamber music is a series of no fewer than 36 string quartets, as well as four double quartets for two string quartets. He also wrote an assortment of other quartets, duos, trios, quintets and sextets, an octet and a nonet, works for solo violin and for solo harp, and works for violin and harp to be played by him and his wife together.

Though obscure today, Spohr's operas Faust (1816), Zemire und Azor (1819) and Jessonda (1823) remained in the popular repertoire through the 19th century and well into the 20th when Jessonda was banned by the Nazis because it depicted a European hero in love with an Indian princess. Spohr also wrote dozens of songs, many of them collected as Deutsche Lieder (German Songs), as well as a mass and other choral works. Most of his operas were little known outside of Germany, but his oratorios, particularly Die letzten Dinge (1825-1826) were greatly admired during the 19th century in England and America. This oratorio was translated by Edward Taylor (1784–1863) and performed as The last Judgment in 1830 for the first time. During the Victorian era Gilbert and Sullivan mentioned him in Act 2 of The Mikado in a song by the title character.

Spohr, with his fifteen violin concertos, won for himself a conspicuous place in the musical literature of the nineteenth century. He endeavored (without any good result) to make the concerto a substantial and superior composition free from the artificial bravura of the time. He achieved a new romantic mode of expression. The weaker sides of Spohr’s violin compositions are observed in his somewhat monotonous rhythmic structures; in his rejection of certain piquant bowing styles, and artificial harmonics; and in the deficiency of contrapuntal textures.

Spohr was a noted violinist, and invented the violin chinrest, about 1820. He was also a significant conductor, being one of the first to use a baton and also inventing rehearsal letters, which are placed periodically throughout a piece of sheet music so that a conductor may save time by asking the orchestra or singers to start playing "from letter C", for example.

In addition to musical works, Spohr is remembered particularly for his Violinschule (The Violin School), a treatise on violin playing which codified many of the latest advances in violin technique, such as the use of spiccato. It became a standard work of instruction. In addition, he wrote an entertaining and informative autobiography, published posthumously in 1860. A museum is devoted to his memory in Kassel.

According to Rey M. Longyear, Spohr's best works were hailed by many of his contemporaries as quintessentially Romantic and inherited by Mendelssohn.