The year was 1826. Beethoven was revolutionizing the string quartet. Spohr was no musical revolutionary, and he much preferred Beethoven’s Opus 18 quartets to the late ones. His quartets improved in quality and offered some surprises, but he never ventured far from Haydn’s model. This doesn’t mean they aren’t worth listening to; it was a long time before any major composer matched Beethoven’s level of experimentation. Jan Swafford’s biography of Brahms says, “By mid-century the string quartet like the symphony appeared a moribund genre despite the dozens of composers writing them.”

This is the third installment in my blog series on Spohr’s 36 string quartets. Just as a reminder, I’m only a musically literate amateur, and these are my opinions usually based on one or two hearings. Each day I try to listen to one and add some comments on it to this draft, so my mood from day to day can affect my reactions. It’s a tour, not an in-depth analysis.
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