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Patrick C Waller
MusicWeb International, July 2005

"Louis Spohr was a prolific composer and violinist. He wrote 36 string quartets, eight of which he referred to as solo quartets and were vehicles for his own virtuosity. The two recorded here are from the standard mould, well-crafted and tuneful if formally unambitious. Marco Polo’s project to record them all is more than half complete and this disc introduces a change of personnel, volumes 1-9 having been recorded by the New Budapest Quartet.

These two quartets provide considerable contrast. Both were written a year or so after Beethoven’s death, and the debt to Haydn and Mozart is clear. Spohr is known to have actively disliked Beethoven’s later works although he did perform the Op.18 quartets. We can hardly expect this music to reflect such an influence – few others seem to have understood it at the time.

The G major quartet is predominantly contented in nature with a gloriously sunny opening movement. This is followed by an adagio with hidden depths but no real pathos. The third movement replaces the usual scherzo or minuet with a stately polonaise and trio. The finale is full of humorous touches. In the A minor work it is the slow movement that provides light relief as Spohr’s outer movements generally inhabit a much more serious vein. The substantial finale begins with a slow introduction and ends rather quizzically.

The Concertino String Quartet (to give their abbreviated title) was formed in 1994 and specializes in rarities. Their playing is expressive and always at the service of the music. The internal recorded balances are natural although I found the overall aural perspective a shade close with breathing often evident. The documentation is excellent with authoritative contributions from Spohr’s biographer, Clive Brown and the president of the British Spohr society, Keith Warsop.

A fine disc in a series that looks to be worth investigating, although it is a pity it is not being issued on the super-bargain price sister label Naxos. Given that low price tempts exploration, it is becoming hard to work out the raison d’être for the more expensive Marco Polo label when so much other little known music is now available."

Colin Clarke
MusicWeb International, May 2005

This is the first of the Spohr series on Marco Polo to come my way. It completely rebuffs any idea that Spohr is in any way a second-rate composer. Aggressively progressive he was not, that much is true; he was, however, talented, searching and capable of providing real delights and surprises, as this well-recorded (warm, but not muddy) disc testifies.

Spohr was nearing the end of his tenureship as Kapellmeister at Kassel when he penned these two quartets. The first we hear, No. 24, is a delightful work; the choice of the appealing key of G major as home key was no accident! Yaroslav Kresnikov’s violin is as eloquent as they come. The slow movement is the highlight, with nice ‘grainy’ pianos from the players. This is interior music, not late Beethoven to be sure but, surprisingly, not too far off, especially when played with such warmth and affection. The Moscow Philharmonic Concertino String Quartet’s players blend well while still maintaining individuality.

Interesting that the third movement is marked ‘Alla polacca’. There is more than a touch of the rustic here, and interplay is finely judged between parts. The final Allegro movement is quite disturbed - again seemingly contravening the sunny G major home-key - the repeated notes seeming to imply a level of unrest. This is a lively performance, with rhythms well sprung and a great tossing around of motifs towards the end.

The A minor quartet dates from around the same time. Its shadowy opening leads to more of those eloquent exchanges, this time tinged with sadness. Listeners dismissive of Spohr on grounds of lack of depth of expression need to hear this as a necessary corrective. The slow movement - an Andante as opposed to an Adagio - this time is almost courtly, a source of joy that does not possess the ambitions of its predecessor. The quasi-improvised first violin line around 4’10 is delightful.

The Scherzo, however, is dark of mien - the quartet darkens its tone in sympathy - and as if to elongate this atmosphere the Andante ‘introduction’ to the finale is very long ... and uneasy, harmonically unstable. No joyous finale here; the close is entirely appropriate with the music just dying out.

The interesting and understandably defensive booklet note is provided by Keith Warsop who is chairperson of the Spohr Society of Great Britain.

Do investigate. The Moscow Philharmonic Concertino String Quartet clearly believe heart and soul in Spohr’s music. After hearing this, maybe you will too.

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