Nonet in F major, Op. 31

- Composer: Louis Spohr[born Ludwig Spohr] (5 April 1784 -- 22 October 1859) - Performers: Bell'Arte Ensemble - Year of recording: 1995 Nonet in F Major, Op. 31, written in 1813. 00:00 - I. Allegro 08:07 - II. Scherzo (allegro) 15:14 - III. Adagio 22:33 - IV. Finale (vivace) This was the first work to bear the title 'nonet', and was scored for: flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass. The nonet was so successful that its instrumentation became the standard for subsequent emulation down to the present time. Larius J. Ussi writes about the nonet in The Chamber Music Journal: "In discussing the Spohr nonet, like most works, it is well to keep in mind the period from which it dates. 1813 was a transitional period. It represented the closing years of the so-called Vienna Classical era and the newly emerging style of the Romantic. The first thing one notices is, despite the fact that the winds outnumber the strings, the quality of the writing is such that the string parts can always be heard. Though written on a grand scale, (and indeed Spohr called it a Grand Nonetto), there is, as might be expected, no introduction. It begins immediately with an Allegro whose main theme is presented by the violin and repeated by the winds. This motif constantly reappears throughout the movement in various guises and comes to dominate it entirely. The second movement is somber somewhat mysterious sounding Scherzo. There are two trios. The first trio is given over to the violin with a pizzicato accompaniment in the other strings. It resembles a Ländler of the sort Mozart often used. In the canonic more serious second trio, the lead is given to the winds. A soulful and beautiful Adagio serves as the third movement. Boisterous, celebratory and appealing is the main theme to the wonderful Vivace finale. The music trips along with infectious high spirits of the sort Schubert was to create in many of his best chamber works. The powerful imagination which Spohr displays, especially here, but also throughout the earlier movements, with regard to his use of the instruments to create a multitude of tone colors, is but one of many reasons why this work can be considered a masterpiece. It is certainly one of the very best pieces of chamber music he wrote."