Ludwig Spohr

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Spohr, Ludwig

 

(also Louis Spohr). Born Apr. 5, 1784, in Braunschweig; died Oct. 22, 1859, in Kassel. German composer, Violinist, conductor, and teacher.

The son of a doctor, Spohr studied violin under F. Eck, with whom he made a trip to Russia. He held the post of kapellmeister in Braunschweig and Gotha and was a concertmaster in Vienna from 1812 to 1816; he also appeared on occasion in London and Paris. In 1822, Spohr was appointed kapellmeister to the court at Kassel. His European concert tours as a violinist and conductor were enormously successful.

As a violinist, Spohr was noted for his full, singing tone and impeccable technique. The founder of the 19th-century German school of violin playing, he educated several generations of violinists, including F. David, A. Kompel, and L. Saint-Luban; he was the author of Violin School (1831). Spohr, who played a major role in the development of conducting into an independent performing art, was among the first to use the baton. As a composer, he was a representative of the romantic trend in German music.

Spohr composed ten operas, with plots taken, for the most part, from historical or fantastic subjects; the most popular were Faust (stage 1816 in Prague under the direction of C. M. von Weber), Jessonda (1823), The Alchemist (1830), and the Crusaders (1845). Among his other works are nine symphonies, 15 violin concerti, and 34 string quartets. Spohr’s Autobiography (vols. 1–2, 1860–61) provides a broad survey of the musical life of the first half of the 19th century.

REFERENCES

Stierlin, L. L. Spohr. Zürich, 1862–63.
Robert, C. L. Spohr. Berlin, 1883.
References in periodicals archive ?
The Czech Nonet regularly performs the music of Ludwig van Beethoven, Louis Spohr and Johannes Brahms.
Particularly in the earlier of these two works, she identifies hallmarks of a domestic chamber style that is also encountered in compositions by George Onslow and Louis Spohr (p.
The Amiche String Quartet, Ayse Karaoglan and Anna Wrobel on the violin, Ewa Bartmann on the viola, and Miranda Papaneokleous on the cello, will be joined by Katerina Kitsou from Greece on the harp, to perform works by Louis Spohr, Claude Debussy and Arnold Bax.
PETER BACON Classical Spohr Symphonies 8 & 10 Orchestra della Svizzera Italiana/ Howard Shelley Louis Spohr is one of those text-book names which hover in the background mists of musical history.
One of the highlights of the book is the composer Louis Spohr meeting an impoverished Beethoven towards the end of his life.
It is typical of him that this spirit is almost always kept within bounds, that he seldom permits it to dominate an entire piece (as it routinely dominates in Weber or the lesser-known composer Louis Spohr, to name two examples among Hummel's contemporaries), and that more often than not it is counteracted by Hummel's love of conspicuous virtuoso filigree.
Louis Spohr, like Hummel, is one of those unfashionable composers who tends to be scorned in comparison to some of his famous peers.
Hans Joachim Kreutzer's Faust: Mythos und Musikis, by contrast, a relatively slender compilation of eight distinct chapters that proceed from the Faust Book of 1587 to musical compositions by Louis Spohr, Robert Schumann, and Hector Berlioz, via Charles Gounod and Arrigo Boito, right down to Alfred Schnittke.
Conductor Louis Spohr, who knew Beethoven, claimed that the composer admitted privately that the piece was "tasteless.
Frey of Paris, with examples of subscription lists from full scores in his complete sets of operas by Mozart and Gretry, Maurice Schlesinger, also of Paris, with a vocal score of Mozart's Requiem; and Bohem of Lille, with a vocal score of Zemire et Azor by Louis Spohr.
Louis Spohr, Louis Spohr's Autobiography (London: Longman, Green.
Much of what we hear orchestrally in Die drei Pintos might be indistinguishable in timbre and texture from operatic accompaniment in Franz Schubert, Luigi Cherubini, Louis Spohr, Albert Lortzing, Otto Nicolai, or Weber himself.