ClassicsOnline Home » SPOHR, L.: Concertantes Nos. 1 and 2 / Duet in G major, Op. 3, No. 3 (Kraggerud, Bjora, Oslo Camerata, Baratt Due Chamber Orchestra, Barratt-Due) > Review List



SPOHR, L.: Concertantes Nos. 1 and 2 / Duet in G major, Op. 3, No. 3 (Kraggerud, Bjora, Oslo Camerata, Baratt Due Chamber Orchestra, Barratt-Due)

Composer(s):Spohr, Louis
Artist(s)
Period(s) Romantic
Genre Classical Music
Category Chamber MusicConcertos
Catalogue 8.570840
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


Louis Spohr’s life-long artistic commitment to elegance, sturdy workmanship and emotional reticence has burdened him with a reputation as a nostalgic conservative. Yet his melodic mastery, delicately poised Classical sensibility and advanced treatment of harmony, are evident in the highly enjoyable music on this disc. Glittering solo passages and congenial interplay between the soloists characterise both the Concertanti, which pay tribute to the Baroque concerto grosso and look forward to the music of Berlioz, Tchaikovsky and Mahler, and the Duo, with its lively dialogues between equal partners.


   




Review By Giv Cornfield,The New Recordings, Cliffs Classics,March 2010

The scion of a comfortable and cultured upper middle-class family, Spohr's music reflects the character of the man: suave, elegant, and thoroughly professional at all times, even if seldom touched by inspirational revelations. Spohr was a prodigious composer in most forms, and his opera Jessonda was popular in 19th century Europe. The two concertante works are masterfully wrought and brilliantly executed by the two soloists, who enjoy solid support from the orchestra and good work on behalf of the recording engineer.

Review By Robert R. Reilly,InsideCatholic.com,March 2010

Late Romantic music was also very rich and overripe, as in Alexander von Zemlinsky’s Die Seejungfrau (“The Mermaid”), after Hans Christian Andersen’s story of the same title. Here are more storms, gorgeous melodies, and broken hearts in a symphonic fantasy from 1905 that requires a virtuoso orchestra. The style of this intense and highly atmospheric music is redolent of early Schoenberg, without its hints of morbidity. The New Zealand Symphony Orchestra, under James Judd, gives this music the sheen it requires. You will be swept away. The accompanying Sinfonietta from 1934 shows exactly what the post-Romantic meant: The lushness is gone, and in its place is music that is more acerbic and angular. One can easily hear how far 1934 was from the world of

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