October - December, 2018

Louis Spohr's Double String Quartets

Louis Spohr (1784-1859 also known as Ludwig) was born in the German city of Braunschweig. From early childhood, he showed a great aptitude for the violin. He studied with the virtuoso violinist Franz Anton Eck in St. Petersburg and ultimately became one of the leading violinists in the first half of the 19th century. But he was also an important composer and conductor. Spohr wrote in virtually every genre, not the least being chamber music. He composed some 36 string quartets, 7 string quintets, five piano trios, four double quartets and several other chamber pieces. The Double Quartet format--for 2 string quartets-- is not only unusual but is virtually unique to Spohr and must be ranked as his most important contribution to the realm of chamber music.

In his memoirs, Spohr wrote that the idea of the double quartet came to him from friend and colleague, the famous violinist, Andreas Romberg. Quite apart from a standard octet which works as one large group, the idea of the Double Quartet was to have two separate, but equally important groups which could enter into the most varied of relationships. He set himself the task of using two quartets in frequent contrast in the manner of a double choir and saving the combining of the groups into an octet for the climaxes of the work. Hence the alternating of presentation of the thematic material of the two quartets creates a ongoing dialogue and is crucial to the structure of the work. It also allows for an even greater use of tonal coloration than the standard octet. In line with this, Spohr specified that the seating arrangement for a double quartet had to be different from an octet. He decreed that the two quartets were to be seated opposite one another with the first violin and cello of each quartet sitting directly across from his counterpart.

The First Double Quartet, Op.65 in d minor, was written during the spring of 1823 and published two years later. The first movement, Allegro, begins immediately with a statement of the main theme in unison by all eight voices. In the forefront throughout the movement, it is skillfully employed in a variety of ways. The second movement, Scherzo, vivace, with its delicious melody is full of a droll humor while the rhythmic accompaniment of the second quartet is finely intertwined with the thematic material of the first. A serene though at times passionate Larghetto follows. The lively and joyous Allegretto molto makes a very suitable finale for this fine work.

Spohr's Second Double Quartet in E flat Major, Op.77 dates from 1827. Although there are some brilliant passages for the first violin in the first quartet, especially in the warm and melodious opening Allegro vivace, Spohr took particular pains to treat both quartets more equally than he did in his first double quartet and overall, the style is less brilliant and more intimate. This is followed by a march-like Menuetto, quite classical in form with wonderfully contrasting trio section which features a lovely duet between the violin and viola of the first quartet. The elegant third movement, Larghetto con moto, is a kind of theme with variations and features a striking pizzicato in the second quartet. The jaunty finale, Allegretto, with several exciting, breathless sections, makes a strong impression.

Spohr completed his Third Double Quartet, Op.87 in e minor in 1833. It became the best known of the four double quartets he wrote and was often performed throughout the 19th and first part of the 20th century. The work begins with an Adagio introduction but the main part of the first movement is a lyrical, spacious Allegro. The first theme has a deeply felt sense of yearning while the second subject is calmer. The theme of the second movement, Andante con variazione is divided between the two quartets and forms the basis of a lively dialogue between the two, full of dazzling passage work. An energetic Scherzo comes next. It has a Beethovenian aura to it, alternating as it does between forward drive and lyrical calm. A dainty trio provides good contrast. In the finale, Allegro, a vigorous optimism infuses the main subject which has a fiery march-like quality. The second theme has a hymn-like quality and makes an excellent compliment to the first.

Spohr’s Double Quartet No.4 in g minor, Op.136 was his final work in this genre and dates from 1849. It is poses less technical difficulties than his first three and can be especially recommended to amateur players. In this work, Spohr shows his masterly handling of both quartets and how beautiful such an ensemble can be made to sound throughout. There is an elegiac mood to the opening Allegro which has appealing melodies and fine rhythmic treatment. This charming movement is lovely throughout. A deeply felt, religious sounding Larghetto comes next. In the piquant Scherzo which follows, Spohr’s beloved chromaticism is on display. The simple, calm trio section provides a fine contrast. The finale, Vivace, is particularly effective in its interplay between the two quartets.

You can hear soundbites to all four double quartets by clicking on the links above. And all are available from Edition Silvertrust.