Louis Spohr

Harp Music 

Nicanor Zabaleta

Fantasy, op. 35

Elias Parish Alvars

Three Romances (完整版)

Two Etudes

Nocturne

Lucas Ruiz De Ribayaz

Hachas & Pavane (完整版)

traditional

Seguidillas

Diego Fernández De Huete

Italian Song with Variations

Padre Manoel Rodriguez Coelho

Tento (完整版)

François Joseph Naderman

Sonatina (完整版)

Théodore Labarre

Caprice (完整版)

Elisabeth Plank

Gabriel Fauré

Engelbert Humperdinck

Musings

Isaac Stern

Pinchas Zukerman

Jean-Marie Leclair

Isaac Stern & Pinchas Zukerman (Live)

Camerata Freden

Spohr: String Sextet in C Major, Op. 140 & Nonet in F Major, Op. 31

Karl Leister

Radio Sinfonieorchester Stuttgart

Rafael Fruhbeck De Burgos

In the 1830s, Spohr was commonly considered undisputedly the greatest living composer. He was inspired to write his four clarinet concertos, which have always ranked among Spohr’s most popular works, by his acquaintance with the Thuringian clarinettist Johann Simon Hermstedt. Up to today, the decidedly virtuoso clarinet concertos have been a challenge for any clarinet soloist, as they mirror Spohr’s view of the form of the solo concerto as a projection surface to flaunt technical skill in an ideal symbiosis with the poetic and lyrical contents of the music. On this release, the works are performed by Karl Leister.Karl Leister began his solo career as a clarinetist with the Berlin Philharmonic Orchestra under Herbert von Karajan in 1959. At the same time his international career as a soloist and chamber musician began. He is one of the founders of the ensembles Blaser der Berliner Philharmoniker, Berliner Solisten as well as the Ensemble Wien-Berlin. Since the foundation of the Herbert von Karajan Academy of the Berlin Philharmonic Orchestra, Karl Leister has been teaching the young generation.

Spohr: Clarinet Concertos Nos. 1-3

Margaret Baker

Spohr: 6 Deutsche Lieder, Op. 103

Vienna String Sextet

Spohr: String Sextet, Op. 140

Cecilia Bernardini

Masumi Nagasawa

In 1805, on the basis of his brilliant yet expressive playing, the 21-year-old Louis Spohr was appointed Konzertmeister at the ducal court in Gotha. By this time he had also begun to make his mark as a composer, and during his years at the court he would add several pieces for the harp to his list of works, inspired by the young harpist Dorette Scheidler. Spohr later recalled his reaction to her playing: ‘I was so deeply moved that I could scarce restrain my tears... I took my leave – but my heart remained behind!’ Only months later, the two were in fact married and Spohr began to compose works which would form the repertoire during future concert tours. Dorette Spohr played a so-called single-action pedal harp of a similar type to the instrument used on this album. Soon to be replaced by the double-action pedal system, the single-action pedal harp was best suited for playing in flat keys. As Spohr preferred writing his violin parts in sharp keys, which allowed the resonance of the open strings, he adopted the method of tuning the harp a semitone lower, which had the added benefit of reducing the tension on the strings. The Sonatas Opp 113-115, in D and G major, therefore have harp parts notated in E flat and A flat major respectively. Because of its delicate construction and stringing, the single-action harp has a distinct silvery bell-like sound and these sonatas are among the last important works specifically written for it. They are also the most demanding, but it is clear that Spohr intended them to display not only the technical skill of the two artists but also their musical expressiveness. The performers here are Masumi Nagasawa and Cecilia Bernardini, who have made a particular study of Spohr's writings on performance practice.

Spohr: Sonatas for Harp & Violin

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Harp Music

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