Louis Spohr - String Quartet No. 14, Op. 45 No. 3 (1818) скачать в хорошем качестве

Louis Spohr - String Quartet No. 14, Op. 45 No. 3 (1818)

Louis Spohr (5 April 1784 – 22 October 1859), baptized Ludewig Spohr, later often in the modern German form of the name Ludwig was a German composer, violinist and conductor. String Quartet No. 14 (1818) I. Adagio - Allegro vivace 0:00 II. Adagio 10:10 III. Scherzo. Presto 19:08 IV. Finale. Vivace 24:00 New Budapest Quartet András Kiss and Ferenc Balogh, violin László Bársony, viola Károly Botvay, cello The Quartet No.I4 in F minor, Op. 45, No. 3, but there are also other ways Spohr gives an individual identity to the three quartets. In No. 1 there is a lengthy, filre development in the classical tradition, while in No. 2, as we have seen, the real development takes place in the recapitulation. Now, in the F minor, Spohr abolishes the development entirely and builds the unity of his first movement through strong contrasts in each section. It opens with a slow introdu ction, Adagio, the first to one of Spohr's quartets (although the fugal finale of Op. 15, No. 2 has one) which projects an atmosphere of sorrow. Gradually the clouds lift and a more hopeful theme in A flat major begins to take shape. This proves to be the kernel of the flowing F major first subject of the Allegro vivace while the second theme is also lyrical, 'floating like a butterfly from harmony to harmony', in the words of Glenewinkel in his 1912 monograph. In between come difficult, virtuoso semiquaver passages for the first violin. There is no exposition repeat; instead the slow introduction reappears, its tone intensified by dramatic pizzicato effects, then, after the recapitulation, hints of it overshadow the coda. Tlre hymnlike Adagio in B flat major maintains its rapt mood throughout with the A flat section of the slow introduction influencing the secondary material. The F major Scherzo. Presto is another of Spohr's 'fantasy' pieces in which, as in Op.45, No.l, he reflects the world of E. T. A. Hoffinann, Jean-Paul or the Grimms, as if a ghostly witches' dance is taking place on the misty top of the Blocksberg, while the whining Trio in F minor intensifies the mood (perhaps the fact that Spohr had just been involved in the German premidre of his opera Faust in Frankfurt might have been an influence). The F major Vivace finale starts like aquatuor brillant with a semiquaver opening theme for the first violin in which the other players get to sliare. Then comes one of Spohr's catchiest tunes which develops into a duet for violirr and cello. Knowing a good tune when he invented one, Spohr calls for the exposition repeat so that, including the recapitr-rlation, we hear it three times. But we want it to come round again and Spohr does not disappoint us. With things heading for a seemingly conventionalfortissimo conclusion the music suddenly changes tack and in sails the tune to bring the movement gently to rest. A poetic close to the set of which the Allgemeine Musikalische Zeitung reported: 'Three new magnificent quartets by Spohr received great applause.'