Sonata-like pieces for miscellaneous small ensembles were popular in the Classical and early Romantic periods. They might be called serenades, divertimenti, or cassations. Sometimes they were named for the number of instruments; Spohr did this with his Septet and Octet. The Opus 32 Octet, composed in 1814, has an unusual instrumentation even for this catch-all category: a clarinet, two horns, a violin, two violas, a cello, and a bass. The clarinet, horns, and violin get most of the leading lines, leaving the lower strings to provide solid support throughout. Spohr was a top-rank violinist, and he may have intended the violin part for himself; it’s full of fireworks.

The slow, brief introduction presents an important motif in the first measure, the eighth notes E-G-C (down a sixth, up a fourth). The intervals change, but the shape is consistent. Shortly we hear a dotted rhythm, up and down a half step. These two bits provide most of the material for the Allegro, which goes from E minor to E major. The down-up motif is the basis for the first theme, tossed around from one instrument to another. The dotted motif impatiently makes an appearance in the first theme, but it’s the secondary theme where it establishes ownership. The violinist gets to show off in sixteenth-note passages all through the movement. The music is written in 3/2 time, but it’s easy to hear it as 3/4 initially and get confused. It’s three moderate beats to the bar, not three fast ones.
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