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Spohr Violin and Viola Duo Op. 13
Spohr Violin and Viola Duo Op. 13
13
This violin and viola duo, published in Leipzig in 1808, is the earliest work
studied and performed as part of this project. It was included, rather in the
manner of the op. 67 no. 1 violin duo, as one of the fruits of the regular
meetings I had with Clive Brown as part of the fellowship administration. It
provided me with the opportunity to play the viola in at least one item of the
project works archive.
As with all of the Spohr works examined in the project (here using the
first edition with Spohr’s own bowings and fingerings) many of the difficulties
in preparing an appropriate performance in accordance with the evidence
available are absent. Whilst Spohr’s markings are by no means
comprehensive, certainly on a technical level, he indicates quite clearly
fingerings and bowings of an artistic character and we attempted to put these
into practice as closely as possible, with a few additions and amendments for
practical reasons. In all cases, pencilled annotations, which have been
preserved in the scanned images of the edition included as part of the work
files here, do not contradict or change the substance of Spohr’s writing and
seek to preserve his artistic outlook as laid out in this first edition.
Spohr’s markings provide a clear and relatively unambiguous scheme
for expressive performance bearing in mind his definitions of ‘fine’ style, as
laid out in his Violinschule:
In terms of tempo rubato, tempo flexibility and other related matters, we have
been economical with our approach here, bearing in mind Spohr’s comments
as preface to the edition of the 9th concerto as published in the Violinschule:
1
L. Spohr, Violinschule (Vienna, 1833, trans. C. Rudolphus, London, 1843), 179-180
2
Spohr, 119.
Scholar should rarely, and with moderation, if his
feeling should induce him to do it, use the means of
expression already mentioned, as by any alteration in
the measure of time, the whole character of the
composition might be destroyed.’3
It would be well however, to point out that this is a little ambiguous. Spohr
here seems to be describing unscripted changes of tempo (as has become a
performance tradition in the G minor section of the first movement of
Beethoven’s violin concerto, for example). It need not preclude the use of
tempo rubato, although our application of it, here and elsewhere in this
project, is mainly in terms of allowing a dislocation of melodic and
accompanimental time, as well as small contrametric uses and agogic accents.
These kinds of tempo manipulations are consistent certainly with the
testimony of relevant early recordings which, even in the strictest of the styles
of playing of the time evident in this so-called ‘classical’ German school, rarely
ever approach the quasi-metronomic tempi of many modern interpretations.
Here as elsewhere though a great distinction must be made between small-
scale tempo changes and the kinds of showy and extreme changes that
characterised Wagner’s performance and that of his followers 4 which has very
little relevance to any of the works studied and recorded in this project.
3
Spohr, 202.
4
See D. Milsom, ‘Style and Sonority in Wagner String Performance’ in The Wagner Journal
Volume 3 No 2 (London, 2009), 9 and D. Milsom, Theory and Practice in Late Nineteenth
Century Violin Performance 1850-1900 (Aldershot, 2003), 156.