Hidden Treasure

Every so often I dig out a CD that I hadn't listened to for a long time.  And when I do it's usually a real treasure that repays my time amply.

This was an unusual one from the world of chamber music: a pair of "double quartets" by Louis Spohr.  Right away, the questions start flowing:  [1]  Isn't a double quartet the same thing as an octet?  [2]  Who the heck is Louis Spohr anyway?  [3]  Why haven't I heard of this guy or his music before?

Take them in reverse order.  You probably haven't heard of him because his lifespan overlapped those of Beethoven, Liszt and Wagner, and the Powers-that-be have decided long ago that he is an unimportant figure compared to those giants.  Once again, I beg to differ.

So:  Louis Spohr lived frm 1784 to 1859.  In his own lifetime he was esteemed as a first-rank virtuoso of the violin and as a conductor.  He composed numerous symphonies, operas, oratorios, 7 violin concertos (!) and a large trove of chamber music ensembles of varying sizes.

This brings us to the present works.  The "double quartet" idea originated with another violinist and composer, Andreas Romberg, whom Spohr held in considerable esteem.  It was Spohr who took up the concept and made it his own in four double quartets.  The difference from an octet is simply that the two quartets remain separate but equal bodies, perhaps seated thus on stage, in order to allow for antiphonal interplay between them.

Now, this is a familiar concept in vocal music, where composers for centuries have composed works for multiple choirs allowing for antiphonal singing.  But Spohr moved the idea into a new realm with his double quartets, and even took it into orchestral music in his Seventh Symphony for 2 orchestras!  This sounds fascinating, and I must have a look for a possible recording.

In the meantime, here we have the first two double quartets played by the Academy of St. Martin in the Fields Chamber Ensemble.  The 1986 Hyperion recording has a full acoustic with just enough reverbrance to suit chamber music.  As for the music itself, hese are the works of a mature and skilled composer and it shows in the development of the musical material.  Only the medium still tested him as he explored the possibilities opening up for him.  But certainly the double quartet format creates rich and glowing textures that are subtly different from a conventional octet.  At any rate, this is very listenable music with enough depth to satisfy repeated hearings.  I'm also going to be casting about for a recording (perhaps more recent) of the third and fourth double quartets, in which his mastery of the form is said to be considerably greater.  In the meantime, I am surely going to enjoy this one!