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. It was at a concert in Leipzig in December 1804 that the famous music critic Friedrich Rochlitz first heard Spohr and pronounced him a genius not only because of his playing but also because of his compositions. Literally overnight, the young Spohr became a household word in the German-speaking musical world. Besides frequently touring as a concert violinist, Spohr held many important positions as a conductor and director at various musical courts throughout Germany. From the very beginning, Spohr wanted to become more than just a violin virtuoso. Hard work and talent allowed 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 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. His teaching assistant related that in the 1830s, 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. Sometime during the late 1830's he undertook a rigorous course of study of the instrument and by the 1840s 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 Septet for Piano, Flute, Clarinet, Bassoon, Horn, Violin, and Cello. which were to have lasting value
His Septet in a minor, Op.147, was composed in 1853. Despite being 69 years old at the time, Spohr enjoyed good health and continued composing virtually to the end of his life. The septet’s diverse instrumentation allows for a rich tapestry of timbres and textures, showcasing each instrument’s distinct character. The opening movement, Allegro vivace, has for its main theme a subject of destiny to which all of the instruments contribute substantially. The second movement, Pastorale-Larghetto, is richly scored and quite lyrical. The main theme is presented by the horn, which is given a substantial solo. Next comes a high-spirited scherzo vivace. There are two contrasting trios. In the first, the clarinet is given the lead, and in the second, the horn and piano come to the forefront. The finale, Molto allegro, starts off quite vigorously but is followed by a charming march-like subject.
This is without doubt one of the very best piano septets, which not only deserves concert performance but belongs in the libraries of amateur chamber music players as well.
