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.
The second movement is designated “Menuetto,” but it’s more of a scherzo in spirit, and performances mostly reflect that in their tempo. The initial theme plays two against three. The clarinet joins in harmony with the horns, creating a blend that isn’t often heard but works well. At one point, all the instruments join in a brief fugato, introduced by the cello in a rare solo role. The trio is a showpiece for the two horns.
The third movement is a set of variations on the Handel tune known as “The Harmonious Blacksmith.” Spohr reportedly chose the theme to appeal to English audiences. This movement makes heavy use of the pick-up trio of clarinet and two horns, with a good effect. It’s especially striking in the final variation, where the three winds play over a stealthy background of pizzicato strings. The violin then launches into some fancy 32nd note work, and all the other instruments except the bass show that they can do it too. The closing measures feature Spohr’s characteristic major-minor ambiguity.
Before Beethoven, the last movement of a work was usually lighter than what came earlier. Spohr follows this tradition with a rondo finale based on a folk-like tune. This doesn’t mean it’s easy to play. I know nothing about horn playing except that it’s a notoriously difficult instrument, but some of the horn passages in this movement look really tough to me. The violin continues to have lots of showy bits.
Aside from the rarity of Spohr performances these days, the Octet presents some serious challenges. It’s an odd collection of musicians to bring together, and the performers have to be really good. If you ever come across a concert with this piece, played by instrumentalists who are up to it, it’s worth catching.
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