Presents
Louis Spohr
Piano Trio No.1 in e minor, Op.119
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 from the very beginning, Spohr wanted to become more than just a violin virtuoso. Hard work and talent were to allow him to become a leading conductor, a highly regarded composer and a famous violin teacher. As a conductor, he pioneered the use of the baton and introduced the practice of putting letters into parts to aid rehearsal. Violinists should be forever be grateful to him not only for his fine concertos but also because he invented the chin rest.
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. During the 1830’s, he bemoaned his lack of ability on the piano and said that he would gladly trade a year’s salary to be able to play the piano well. Spohr was truly a great man of many skills (mountaineer, hiker, painter et. al.), and nothing if not determined. He undertook a rigorous course of study and by the 1840’s had become a good, if not great, pianist. The main result of this was that he was able to compose chamber works with piano, such as his Piano Trio No.1, which were to have lasting value
Piano Trio No.1, which Spohr subtitled Concertante, was completed 1841 and created a sensation upon its premiere. Critics wrote that it had no parallel from Beethoven through Mendelssohn either in its construction or use of instruments. This was because Spohr, as a violinist and quartet player, had an intimate knowledge of the abilities of the string instruments. He was able to write for them on an equal basis and even do such things as giving the cello the real bass while the left hand of the piano played an octave above, something no composer before him had ventured to do. Perhaps more than his other trios, this one with its wistful pathos is an expression of Spohr's personality. This is especially prominent in the first theme of the opening movement, Moderato. A march-like second theme precedes several bravura passages. In the broad and lyrical second movement, Larghetto, Spohr presents only one theme but gives it several contrasting settings. The Scherzo which follows especially impressed critics with what we might now call its jazzy syncopation, which in some ways anticipates Slavonic dances. The finale, Vivace, combines a fiery main theme with a more relaxed second subject.
This trio is full of original ideas, excellent part-writing. It should appeal to both amateurs and professionals alike.
Parts: $29.95
