Notes for: August 9, 2005
At one time in his life, Louis Spohr – sometimes known by his original name Ludwig Spohr – was one of the most popular composers in Europe. In the 1820s, as a traveling composer and violin virtuoso, Spohr was the artistic idol of the middle-class musical public – his nine symphonies were considered second only to those of Beethoven. As musical tastes changed with the advent of romanticism, however, he gradually lost his appeal and in his later years was dismissed as old fashioned.
Born in Brunswick, Spohr studied violin with the leader of the Brunswick orchestra and in 1802 with soloist Franz Eck, who took him on a tour of Russia. He toured Italy with the great violin virtuoso Niccolò Paganini, and in 1817 became conductor of the opera in Frankfurt am Main. In 1820 Spohr made the first of his six tours of England, and the following year he became court conductor at Kassel. He remained there until 1857 when his political radicalism incurred the displeasure of his patron, the elector of Hesse-Kassel, who pensioned him off.
Spohr taught himself composition by studying the scores of Mozart. Though opposed to the forward-looking composers of his time – he disliked the works of Carl Maria von Weber and the late works of Ludwig van Beethoven – Spohr esteemed Richard Wagner’s music highly and conducted The Flying Dutchman and Tannhäuser. In his own music, he followed a more conservative path, producing 11 operas, 9 symphonies, 15 violin concerti (of which the eighth continues to be performed), 34 string quartets, 4 double string quartets, a nonet (for nine players) and this octet. His lasting impact, however, was probably greatest as an educator; his Violin School, with its introduction of the chin rest and its emphasis on double-stopping, is one of the classics of violin pedagogy.
Spohr composed the Octet in 1814 in Vienna where he was serving as conductor at the Theater an der Wien, the leading opera house. Beethoven and Spohr became friends and colleagues – Spohn played in the first performance of Beethoven’s Seventh Symphony. (See more about Spohr and Beethoven below.)
Spohr also became acquainted with a Vienna textile manufacturer and violinist, Johann Tost, who had once represented Haydn in the sale of some quartets. According to Spohr’s autobiography, Tost suggested an extraordinary arrangement: For a fee, Spohr would turn over to Tost the original manuscripts of everything he wrote for three years and make no copies. Musicians could perform the music paying a performance fee to Tost and using only scores borrowed from Tost and played only in Tost’s presence. Tost expressed a preference for forms tailored to the resources of private gatherings, such as quartets, string quintets, and sextets.
When Spohr asked Tost his reasons for offering this odd arrangement, Tost replied: “I have two objects. First, I want to be invited to the musicales where your compositions will be played. Second, I hope that on business trips the possession of such treasures will bring me the acquaintanceship of many music lovers. That will be profitable for me and my business affairs.”
A deal was reached, and Spohr gave Tost three string quartets. Then, impressed by the continuing popularity of Beethoven’s Septet, Opus 21, Tost suggested a Nonet and an Octet. Spohr composed the works back-to-back for performance by the players of his theater orchestra. Beethoven’s Septet called for clarinet, horn, bassoon, violin, viola, cello and double bass. Spohr added a flute and oboe to make the Nonet, and for the Octet, he added a second viola and replaced the bassoon with a second horn. Apparently he thought a second viola was needed to balance the strengthened brass.
The first movement opens with an adagio introduction, whose first measure anticipates the main theme of the ensuing allegro – a horn call answered first by the clarinet and then by the horn.. The final measures of the introduction anticipate the second theme, initiated by a wavering pattern also in the horn. After the development of these themes, the adagio reappears, now allegro.
The second movement, while called a minuet, is really a scherzo, played at a fast tempo with pronounced syncopation and the use of chromatics (half-steps). The third movement is a theme and seven variations. At the suggestion of Tost, who was planning a trip to England and wanted something “English,” Spohr took as his theme the “Harmonious Blacksmith,” the familiar air from Handel’s fifth harpsichord suite.
The finale is a light-hearted rondo, the traditional classical form with a main theme which is repeated as a refrain after contrasting episodes. The theme has a folk-dance character, and is varied with each repetition. After virtuoso passages for the various instruments, the Octet ends in another horn call.