Louis SPOHR (1784-1859)
Symphony No. 8 in G, Op. 137 (1847) [35:08]
Symphony No. 10 in E flat, WoO 8 (1857) [26:26]
Overture, Der Zweikampf mit der Geliebten, WoO 50 (1810) [6:13]
Orchestra della Svizzera Italiana/Howard Shelley.
rec. Auditorio Stelio Molo, Lugano, Switzerland, 12-16 April 2010 (Overture
live)
HYPERION CDA67802 [68:10]
Hyperion continues its laudable Spohr recordings with this valuable release,
which includes the first recording of an overture. Production values are of
the very highest, and the Swiss orchestra plays magnificently.
The disc begins with the overture, Die Zweikampf mit der Geliebten
(“The Duel with the Beloved”). The E minor introduction is directly
reminiscent of Haydn’s Sturm und Drang works; the main body adds
dynamism to the drama. The plot - this was Spohr’s first opera to be
produced - concerns a heroine who, Leonore-like, disguises herself as a man
and is forced to fight a duel against the man she loves. At the last minute,
the fight is averted and all ends happily. The performance here is the only
one on the disc taken from a live event, and indeed seems imbued with a fine
spirit of the moment.
The Eighth Symphony (1847) again begins with a slow introduction but here
it is largely a compositional feint. The Eighth’s concerns are more
of the sunshine variety - think Dvořák. There is a delightful
fugato in the first movement, and Shelley has a wonderful way of following
the ebb and flow of phrases throughout. Spohr introduced contrast during various
transitional passages; the slow movement invokes Schumann in particular. Exquisitely
sculpted by Shelley and his forces, it is pure joy. The Hyperion engineers
are at the peak of their powers here, too. Counterpoint is perfectly layered
reflecting true teamwork between Shelley and the recording team with textures
marvellously balanced. Schumann again hovers over the Scherzo. There is an
extended part for solo violin in the Trio, expertly given by the orchestra’s
leader, Anthony Flint. The finale again gives great pleasure, not least the
upward-moving fanfare motif that dominates, and which suits the horn so well.
Shelley ensures that Spohr’s trills, which form an important part of
the material, positively buzz with life.
The score of the Tenth Symphony was only published in 2006 - it had received
its premiere in New York in 1998! Spohr himself had decided the work was not
worthy of his previous efforts; he got as far as rehearsing it with the Kassel
orchestra. What is interesting is that Spohr here is attempting a new concise
mode of expression. A mere 26 minutes in duration, it is a model of restraint.
In addition, it is the first of Spohr’s symphonies to be scored for
valved brass instruments. He also includes a tuba in the line-up. The effect
of the first movement is that of a master who has honed down his work, and
the piece is all the stronger for it. The Larghetto makes no great
demands on the listener. A seven-minute mini-ocean of repose, Shelley and
his forces lavish all their affection on it. Particular mention should go
to the eminently musical solo clarinettist. The playful silences of the Scherzo,
along with the rustic woodwind pairings, all offer pleasure. Shelley finds
rhythmic swing here; for the Trio, the word that springs to mind is “fluent”,
both in terms of Spohr’s writing and for the performance. The freshness
of the finale is beautifully caught.
In short, a fine, musical, superbly engineered disc that guarantees much pleasure.
Colin Clarke
see also review from Rob
Barnett
In short, a fine, musical, superbly engineered disc that guarantees much pleasure.