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Raymond Tuttle
Fanfare, March 2017

If you’re interested in music from the early Romantic era, you will find Spohr to be a composer who wrote good tunes and who knew what to do with them. He was not much of an innovator, and I think it’s his conservatism which keeps him out of the ranks of first-rate composers, but that’s no reason to ignore him, …the symphony’s concept is charming, as is the music, and there’s much to enjoy here, even if one has reservations about it. © 2017 Fanfare Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2016

These symphonies will awake you to a symphonic master who is much better than his present-day reputation would indicate. The coupling of Symphonies Three and Six is especially attractive as are the performances. © 2016 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, October 2016

Continuing the complete symphonies of the hugely prolific Nineteenth century German composer, Louis Spohr, previously available on the Marco Polo label. In total he wrote nine symphonies spread through much of his career, and in common with other composers of the time, he was always looking for new ways to attract attention, the growth of interest in times past put to good use in his Sixth. There he used each of the four movements to represent the history of music from the Baroque era through to his own lifetime. In retrospect they were cliché-ridden, his first movement utilising material from Bach and Handel, though his inbred orchestration was so stylised that it became pastiche. The following two movements, representing the Classical era and the revolutionary times of Beethoven, were more attractive, the Scherzo of outgoing appeal if hardly of a quality to represent the genius of the great composer. Of his own time he seemed only to see turbulence in a forceful Allegro vivace. It must have amused contemporary audiences, though it appears to have been of passing interest. By contrast the Third is a well shaped score, and though its 1828 premiere was rather dwarfed by having Beethoven’s Ninth Symphony in the same programme, it was to become very popular well into the Nineteenth century. Stylistically it belonged to early Schubert, its melodic material being strong and very likeable, the serenity of the second slow movement contrasted by the following scherzo, a bustling rustic scene that leads to a joyous finale. The Slovak State seem to have enjoyed this far more than the Sixth, the playing full of the required vitality. The early 1990’s recording still sounds fresh and well detailed, with timpani making forceful presence. © 2016 David’s Review Corner





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