Ludwig Spohr

Ludwig Spohr , born the April 5th 1784 with Braunschweig in the duchy of Brunswick-Lüneburg in the north of the Germany and dead the October 22nd 1859 with Cassel, is a Compositeur, Violoniste and German Leader. If it always signed its works with the French form, as it was current at the time (for example Beethoven), nowadays, nothing does not justify this use: its true first name is well Ludwig.

Biography

Ludwig Spohr is resulting from a cultivated family and musician. His/her father, Karl Heinrich (1756-1843), doctor is also flutist; his/her mother, Ernestine Henke (1763-1840) is singer and pianist amateur. Both push the child in the study of the violin, as of the five years age. He is initially the pupil of obscure professors: of French Dufour, then of Kunisch and Maucourt. He will also study the organ. Spohr cultivates also painting. It had six brothers and a sister.

Brunswick

At 15 years, it enters the ducal orchestra of the Duke C.W. Ferdinand of Brunswick, then, always with supports of the Duke, continues his studies with the virtuoso Franz Anton Eck (1774-1804) in a study trip one year to Saint-Pétersbourg, place very at the time snuffed by the type-setters. It become acquainted there with John Field and Muzio Clementi (1802).

From 1800, he listens to the French opera from the revolution, in particular the two days or the water carrier of Cherubini, opera with constant success until 1830 or 40. All this music, born during the revolution and Terror, contains many proto-romantic accents important for the formation of the musical current in becoming at the time.

He also discovers among the violonists of his time, of which he adopts the principles, Viotti like his pupils Kreutzer and especially French Pierre Rode who is at the origin of his vocation. Spohr composes its first important work, the concerto for violin opus 1 (1803).

He then undertakes a round through all Germany (Berlin, Dresden, Hamburg) where he is acclaimed as a violonist (1804), in particular in Leipzig in December 1804 by the very influential one criticizes review Large the Blind man ( Allgemeine Musikalische Zeitung ), Johann Friedrich Rochlitz (1769-1842). This last comments in these terms come from the virtuoso-type-setter:

Mr Spohr made without any doubt left the most remarkable violonists of our time, and particularly when one considers his youth, which it carries out would cause the astonishment if it were possible to pass from the cold rapture astonishment (...) His concertos count among most beautiful which exist and none exceeds that in minor D, that it is on the level of the invention, the heart and the charm, or on the level of the serious one and the depth. It leans before any worms the size and the exaltation in a soft melancholy.

Gotha (1805-1812)

From 1805 to 1812, Spohr occupies the stations of Choirmaster at the ducal court of Gotha and first solo with the Orchestra of Vienna. February 2nd, 1806 with Gotha, it marries the Harpiste (Dorothea Henriette known as) Dorette Scheidler (1787 - November 20th, 1834), girl of a singer of the court, of which it will have three girls - and a boy died in low age. As of their union, he travels (and occurs in concert) with her through Europe in Italy (1816-1817), in England (1820) then in Paris (1821), where it meets Cherubini.

It is the time of the composition of its First symphony opus 20 (1811) which received the praise of E.T.A. Hoffmann.

Vienna (1813-1815)

From 1813 to 1815, Spohr becomes leader of the prestigious Theater year der Wien in Vienna. It is the time of its personal bonds with Ludwig van Beethoven. It takes part in particular in the creation of the Seventh symphony and of the Victoire de Wellington (concert of December 8th, 1813 led by Beethoven). Spohr, in its autobiography brings back the concert:
It is with this concert that I live for the first Beethoven time to direct, and I was very surprised. It was accustomed to indicating to the orchestra the nuances which it wished to obtain, by curious movement of all its body. Thus for a sforzando , it violently drew aside the arms which it held before cross on its chest. For a piano , it lowered sometimes until disappearing under the desk. With a crescendo , it went up gradually until reaching the strong where it was held upright on all its height; and without realizing it, it sometimes sometimes happened to him to shout! … Misfortune, it is that its deafness often put its gestures in contradiction with the nuances of the execution. When he realized some, he tried to guess with the movements of the bow of Schuppanzigh the place where one was.

It is at that time that it composes four quartets, its first two string quintets opus 33, its octuor and a cantata, Das befreite Deutschland (“released Germany”). Works are ordered by Johann Tost, former violonist of the orchestra of Esterháza where Joseph Haydn worked. For him, Haydn had wrote its quartets COp 54,55 & 64. Mozart itself had received order of quintets Kv 593 and Kv 614.

When it composed a work, Spohr, playing only passably of the piano, went inevitably in his/her friend Meyerbeer who, with the keyboard, interpreted the partition at sight, while Spohr sang or whistled the sung parts.

“Faust”

Its Faust , made up three years front, is created in September 1816 by his/her friend Carl Maria von Weber with the Ständetheater of Prague. The singspiel had been refused in Vienna the previous year by the director of the theater the tale Ferdinand Pálffy von Erdöd what caused the resignation of Spohr of the Theater year der Wien .

One regards it as the model of the romantic opera (with those of Weber) and it has itself as a model the Don Giovanni of Mozart (created in Prague him also). Work is not drawn from the part of Gœthe of which the first part only was appeared only in 1808 (and the second in 1832), but on a booklet inspired from the novel Vie, actions and descent in hell of Faust (1792) of Friedrich Maximilian Klinger.

The partition draws up a sensitive portrait of the emotions and the song as much as the drama is enthralling. Certain scenes ( Blocksberg ) inspire in Spohr fairy-like sonorities which will be taken again by Mendelssohn in the Songe or Weber in the Freischütz .

The known opera only some representations, the public Viennese hardly appreciating the German opera. Work was played Berlin in 1829, in Paris the following and known year its career especially in the countries of German language.

At the request of the Queen of England in 1852, Spohr will alter its Italian partition, transformed the dialogs into récitatifs and structured work in three acts instead of two in the beginning.

Faust remained with the repertory until 1883, sometimes taken again punctually in concert then.

Frankfurt (1817-1822)

After its resignation of its station Viennese, it is named with the opera of Frankfurt where it ensures the direction of 1817 to 1819. Â this occasion it takes again its operas, of which Faust (March 15th, 1818) by adding, with the first act, récitatif and a aria for Faust.

It assembles also operas of Rossini. If Spohr acknowledges not to love Italian, it integrates some Italianisms in its vocal productions of the time in particular Zémire and Azor on a booklet of Marmontel which had already put in music Grétry, of which it returns account in its Mémoires :

If little that I admire the music of Rossini, success that Tancrède had gained in Frankfurt were not completely without influencing the style of my new opera… It is what explains why the music of Zémire and Azor has so many coloratures and of vocal ornaments.

In 1820 it occurs for the first time at London - the first of its six visits in England - as a leader and a soloist. During the four months of its stay, it written there its Second symphony opus 49, with the haydnienne influence.

Cassel (1822-1859)

From 1822 to 1857, it is named Hofkapellmeister with life, at the court of the Voter of Hesse- Cassel, following the recommendation of Weber. It directs there inter alia works of Wagner ( the Ghost ship in 1843 and Tannhäuser in 1853). With a chorus specialized in the interpretation of the old music “Cäcilien-Worm-ein” ( Société Holy-Cecile ), that Spohr had founded as of its arrived at Cassel, it devotes to a systematic study works of Bach, giving the Passion according to Saint Matthieu very often, as well as works with several choruses of Leonardo Leo (1694-1744), Gregorio Allegri (1582-1652) and Antonio Lotti.

For all this period of Cassel, until the end of its life, each winter, it organizes a festival in concerts of chamber music where its own quartets or quintets are played, the great classic and those of Fesca and Onslow for example.

“Jessonda”

It is in Cassel for the 46e birthday of Prince Guillaume, in 1823 then in Leipzig the following year, which is created its opera Jessonda whose action is at Malabar. Work, inaugurating a setting in music continues, as at the same time, the Euryanthe of Weber, can be regarded as its chief of dramatic work. She was admired by Wagner, Brahms or Dvořák and remained with the repertory until 1914.

Spohr is always inspired by Mozart: one finds in particular elements of the Enlèvement to the Seraglio . Creation was accompanied by a article-proclamation where it invited its fellow-members to cultivate the form “durchkomponiert” (integration of musico-dramatic architecture). term which indicates the whole orchestration of the opera.

The air of Heroin to the first act, Bald bin ich ein Geist geworden , whereas it awaits death on roughing-hew it and loan of renouncement and interior peace, is undoubtedly one of the most pathetic moments of the romantic opera being born.

Maturity & recognition

After the death of Weber in 1826 and Beethoven in 1827, Spohr becomes for its contemporaries the most important type-setter of the moment. At this point in time it joins again with the symphonic kind with the composition of its Third symphony opus 78.

Having lost his Dorette wife in 1834 after twenty-two years of marriage, he marries the pianist Marianne Pfeiffer (1807-1892), old of twenty-nine years, on January 3rd, 1836 with Cassel. In June 1838, it loses Therese, one of her daughters, at the nineteen years age. These tragic events cause a deceleration in its production, except in the field of the Lied. Its remarriage will support the birth of works of room with piano. Same year (1838) date the meeting with Schumann in Leipzig.

In 1844, in Brunswick a festival is dedicated to him, and for its twenty-fifth year of work at the court, it is made Generalmusikdirector .

In 1847, it composes for London its Eighth symphony opus 137 and in April 1850, 66 years old, it completes its last Symphonie , entitled the Seasons opus 143. A tenth will remain unfinished.

It is against its liking that in December 1857 it is put at the retirement by Prince Électeur of Hesse for his constant litigations with the court. At the same time, a fracture of the left arm prevents it from playing.

He dies on October 22nd, 1859 with Cassel.

In 1860 and 1861 appear on a purely posthumous basis two volumes of sound Selbstbiographie (" Autobiographie"), which was translated into English and was published since 1865. The author does not hesitate to criticize all that he heard and to bring back many tables of the musical company of the time, and in particular the Beethoven last that he does not include/understand.

Work

Teaching

Spohr had an intense teaching life since one counts, appears it, hundred quatre-vingt-sept pupils, of which Ferdinand David (1810-1873), Molique Wilhlem Bernhard (1802-1869), Ole Bull (1810-1880), Norbert Burgmüller, Moritz Hauptmann (1792-1868), Johann Peter Emilius Hartmann, Fredrik Pacius, and August Wihelmj (1845-1908).

It publishes a method of violin, Violinschule of the violin (ED. Tobias Haslinger, Vienna 1832), translated into France by Heller into 1840.

One can regard it as an antithesis kind of Paganini which he did not appreciate, even if he however sometimes played in duet with him, and contrary to many his contemporaries. In its compositions, he refuses excesses of virtuosity, renonçant for example with the rebound of the bow on the cords.

About 1819, he invents the mentonnière to fulfill the requirements of the increasing virtuosity of the repertory. The left hand being freer of its movements and the more stable instrument.

Spohr also bequeathed to the posterity the letters of reference mark on the partitions to facilitate the repetitions of orchestra, as well as the modern rod of direction. In his Autobiographie one can read the discovery of innovating technical of direction, which is essential in 1820, at the time of its first voyage to London:

It was then still of use for the pianist, in the symphonies and the openings, to have the partition in front of him, not to direct from it, but only to follow and play its liking with the orchestra, which when it was heard, was of a completely deplorable effect. The true chief was the first violin, which gave the tempos and which, of time to other, when the orchestra started to bend, indicated measurement with the bow. I was decided when it would be my turn to direct, to try to rectify this disturbing situation. I placed myself with the partition on a special desk in front of the orchestra, drew my rod from the pocket and beckoned to start. Very frightened by such an innovation, some of the directors wanted to protest there against; but when I requested them to grant at least a test to me, they were calmed. Thus constrained to an unusual attention, and directed with insurance by means of one beaten visible, all played with an ardor and an exactitude that one had never heard to them. Surprised and ignited by this success, the orchestra made known at once after the first part of the symphony its collective approval to this novel mode of direction. The triumph of the rod was undeniable, and since then one sees nobody any more sitted with the piano during the symphonies and the openings.

Musical

Spohr is a romantic type-setter of great value. It is one of principal representing transition classicism/romanticism. In spite of a conservatism in the form and a style altogether very near to Mendelssohn, it proves very fertile, gifted and skilful in all the fields. It cultivates a tendency to the rare experiments of combinations of instruments: Lieder with violin or clarinet, double quartets, a symphony for two orchestras and even a concerto for string quartet… Its research on the chromatism, of which he misuses in the last part of his life are criticized by largest of his contemporaries, Beethoven and Schumann who summarize their feeling on this tendency:

Spohr is too rich in its dissonances; the pleasure which one takes with his music is wasted by its chromatic melody. (Beethoven)

Spohr is a mollusc, but it is a noble mollusc! (Schumann)

Friend of Weber, côtoyant Wagner, Liszt or Berlioz, it does not have of it however energy, inventiveness or even the inspiration. Equipped with sound living of a notoriety in all Europe (but not in France), as well as a virtuoso, pedagog or a type-setter, in his writing it will remain nevertheless in extreme cases of a melody speech of expression, more as the romantic description of the feelings; what classifies it like musical representative of the style Biedermeier .

Its model remains initially that of the Mozart of the Flûte , then of Schubert and the first works of Beethoven. It will reject this last as of the Quatuor COp 59, the 5th or 7th Symphony and all that follows, although it interprets or directs these works. He does not hesitate to write in his Mémoires :

In the Ninth Symphony, I see a new proof in support of this idea, which it missed in Beethoven, an esthetic imagination and the direction of the beauty.

Type-setter the most adulated of and celebrated of alive sound, it is almost entirely forsaken after his disappearance, except in England: during all the XIXe century it is so popular there that Gilbert & Sullivan quotes it following the example Bach and of Beethoven in act 2 of the Mikado (1885)… Even if at the same time, the writer and critical musical Bernard Shaw gives an account of a corrosive criticism:

All went for best, until the moment when one offered a sacrifice to the pseudo-classicism in the shape of an insipid trio of Spohr - of the lengthened water Mozart, as usual.

We can appreciate the emotional richness and the infallible technical quality of this music, which was certainly eclipsed by other geniuses of its time (Mendelssohn, Wagner…), but resists extremely well a search of originality; Spohr, deeply personal, is of nothing an epigone. Undoubtedly it misses him one nothing spiritual intensity and emotion, but its music is brilliant, full with charm and melody invention.

Media

6 Lieder German, COp 103, for voice, clarinet & piano (1837).

Selective discography

Concertos

Concerto for violin & Orchestra n° 8 " In modo di scena cantate" (1816) - Hilary Hahn Symphony orchestra of the Swedish Radio, to dir. Eijo Oue (2006 - DGG 477.623-2)
Integral of the 15 concertos for violin - Ulf Hoelscher, Rundfunk-Sinfonieorchester Berlin, Dir. Christian Fröhlich (CPO 6CD)
Integral of the 4 Concertos for clarinet - Leister/Frübeck of Burgos (Orfeo)
Integral of the 4 Concertos for clarinet, Pot-rotted COp 80, Imagination & Variations Danzi COp 81 - Ernest Ottensamer/Wildner (1994, 2CD Naxos)

Music for orchestra

Symphonies n° 1 & 2 (1811 & 1820), Large opening in concert in major F, WoO 1 (1819) - Orchestra of Switzerland Italian, Dir. Howard Shelley (2006, Hyperion HALF-VALUE LAYER 67616)
Symphonies n° 6 " Historique" (1839) & 9 " Saisons" (1850) - Symphony orchestra of the Bavarian Radio, Dir. Richenbacher (1984, Orfeo C 094-841 A)
Opening COp 12 & Concerto with string quartet COp 131 (and Little nun COp 31) Leipziger Kammerorchester, Dir. Weigle (1998, MDG)

Chamber music

Duets for 2 violins COp 9 & 153 - Peter Csaba & Vilmos Szabadi (2002/05 Hungaroton HCD32356)
4 Double String quartets - The Academy off St Martin-in-tea-Fields Chamber Together (1998, Hyperion CDD 22014)

Duets Concerting for 2 violins COp 67 - Heinz Schunk & Ulrike Petersen (1996, CPO)

Double quartet in minor D, COp 65 (1823) - Melos Together (1967, Emi " Matrix 30" 5 65995 2)

Double quartet in minor D, COp 65 (1823), Sextet in major C, COp 140 (1848), Quintet in G major, COp 33 n° 2 (1813) - Achibudelli & Smithsonian Players Chamber with Anner Bylsma (1993 - Sony SK 53370)

Quintet COp 91, Sextet COp 140, Pot-rotted on topics of Mozart COp 22 - Academy off St Martin-in-tea-Fields Chamber Together (1996, Chandos)

Septuor COp 147, Quintet with piano COp 130 - Unit Villa Musica (1993, MDG)

Lieder

6 Lieder COp 103,6 Lieder German COp 154,6 other Lieder (COp 25 n° 2 & 5,37 n° 6,41 n° 3 & 6,72 n° 6) - Dietrich Fischer-Dieskau (Baritone), Julia Varady (Soprano), H. Holl (Piano), D. Sitkovesky (violin), H. Schöneberger (clarinet) (1984, Orfeo)

6 Lieder German COp 154 - Anne Sofie von Otter (mezzo), the Nile-Erik Sparf (violin), Melvyn Tan (pianoforte) (2001, DGG 469.074-2)

Chœur has cappella

Messe COp 54 per 5 soloists and two choruses with five votes, 3 Psalms COp 85 for soloists and two choruses with four votes - Rundfunkchor Berlin, Dir. Mr. Gläzer & D. Knothe (1993, CPO 999.149-2)

Opera

Faust, opera in 2 acts (1816), Boje Skovhus (Faust), Franz Hawlata (Mephistopheles), Robert Swensen (Hugo), Hellevi Mintinpelto (Kunigunde), Dir. Klaus Arp (1993, Capriccio 60.049-2)

Faust, opera in 3 acts (version 1852), Jennings, Taha, Vier, von Jordis, Chor der Oper Bielefeld, Bielefelder Philharmoniker, Dir. Geoffrey Moull (CPO)

Jessonda, opera in 3 acts (1823), Julia Varady (Jessonda), Renate Behle (Amazili), Thomas Moser (Nadori), Kurt Moll (Daudau), Dietrich Fischer-Dieskau (Tristan d' Acunha), Peter Haage (Pedro Lopes), Dir. Gerd Albrech (1990, Orfeo)

Catalog works

Spohr composed more than 270 works, distributed in a catalog of opus (more than 150) and a catalog of works without WoO number. August 1st

Concertos or concerting works

Concertos for violin

17 concertos for violin & orchestra

Concerto for violin in G major, WoO 9 (1802)
Concerto for violin as a semi minor, WoO 10 (1803)
Concerto for violin in the major one, WoO 12 (1803) - (I. Adagio-Allegro, II. Adagio, III. Rondo)
Concerto for violin n° 1 in the major one, COp 1 (1803)
Concerto for violin n° 2 in minor D, COp 2 (1804) - (I. Allegro moderato, II. Adagio, III. Went Polacca)
Concerto for violin n° 3, COp 7 (1806) - (I. Adagio-Allegro, II. Siciliano. Andante, III. Rondo. Went polacca)
Concerto for violin n° 4, COp 10 (1805)
Concerto for violin n° 5 in major E flat, COp 17 (1807) - (I. Allegro moderato, II. Adagio my nontroppo, III. Rondo. Allegretto)
Concerto for violin n° 6 in minor ground, COp 28 (1809) - (I. Allegro, II. Recitativo. Andante-allegro molto-Adagio, III. Spagnuola went. Tempo di polacca) This concerto could be called Spanish since the Rondo is founded on authentic Spanish melodies. See also the fourth concerto for clarinet WoO 20.
Concerto for violin n° 7 as a semi minor, COp 38 (1814) - (I. Allegro, II. Adagio, III. Rondo. Allegretto)
Concerto for violin n° 8 " In Form einer Gesangszene" or " In modo di scena cantate" (1816) - (only one movement. One distinguishes there all the same: Allegro molto - Adagio - Allegro moderato) the work was written in preparation for a round in Italy. The part of violin is conceived while thinking of the prowesses of prima donna . It desired part of accompaniment of simplest because the Italian orchestras of the time had an execrable reputation. The concerto was a triumph in Milan and Venice, then in 1820 in Leipzig.
Concerto for violin n° 9 in minor D, COp 55 (1820) - (I. Allegro, II. Adagio, III. Rondo. Allegretto)
Concerto for violin n° 10, COp 62 (1810) - (I. Adagio-Allegro, II. Adagio, III. Rondo. Long-lived)
Concerto for violin n° 11, COp 70 (1825)
Concerto for violin n° 12 in major (Concertino n° 1) the COp 79 (1828) - (serious Andante - Larghetto idiot motor bike - Went polacca)
Concerto for violin n° 13, op.92, 1835;
Concerto for violin n° 14 " Sonst und jetzt" , COp 110 (1839)
Concerto for violin n° 15, COp 128 (1844)

Other works with violin

Pot-rotted for violin & orchestra, COp 23
Grande Polonaise for violin & orchestra, COp 40 (1817)
Pot-rotted über irische Volkslieder for violin & orchestra, COp 59 (1823)
Mouvement of concerto for violin in major D, WoO 16

2 Concerting for 2 violins & orchestra

n° 1 Concerting for 2 violins, COp 48 (1808)
n° 2 Concerting for 2 violins, COp 88 (1833)

Concerto for violin, violoncello & orchestra, in major C (1803)
Pot-rotted for violin, violoncello & orchestra, COp 64

Concerting for violin & toothing-stone in G major, WoO 13 (1806)

Concerto with string quartet in the minor, COp 131 (1845) (I. Allegro moderato - II. Attacca, Adagio - III. attacca, Rondo. Allegretto)

Concertos for clarinet

4 concertos for clarinet

Concerto for clarinet n° 1 in major C, COp 26 (I. Adagio-Allegro, II. Adagio, III. Rondo. Long-lived) (1808)
Concerto for clarinet n° 2 in major E flat, COp 57 (1810) (I. Allegro, II. Adagio, III. Rondo went Polacca)
Concerto for clarinet n° 3 in major F, WoO 19 (I. Allegro moderato, II. Adagio, III. Long-lived not troppo) (1821)
Concerto for clarinet n° 4 in major E flat, WoO 20 (I. Allegro long-lived, II. Larghetto, III. Spanish rondo Al) (1828)

Other works with clarinet

Variations on a topic d'" Alruna" for clarinet & orchestra in major B flat, WoO 15 (1809)

Pot-Rotted in major F, on topics of the opera Das unterbrochene Opferfest Sacrifice stopped of Peter von Winter for clarinet & orchestra, COp 80 (1811) (I. Larghetto, II. Allegro-Allegretto)

Works for orchestra

Symphonies

9 symphonies

Symphony n° 1 in major E flat, COp 20 (1811) - (I. Adagio. Allegro, II. Larghetto idiot motor bike, III. Scherzo. Allegro, IV. Finale. Allegretto)
Symphony n° 2 in minor D, COp 49 (London, March 1820) - (I. Allegro, II. Larghetto, III. Scherzo. Presto, IV. Finale. Long-lived)
Symphony n° 3 in minor C, COp 78 (1828) - (I. Andante - Serious. Allegro, II. Larghetto, III. Scherzo - Trio, IV. Finale. Allegro)
Symphony n° 4 " Die Weihe der Töne" dedication of the sound (1832) - (I. Largo - Allegro, II. Andantino - Allegro, III. Tempo di Marcia - Andante maestoso - (Ambrosian Ode), IV. Larghetto - Allegretto)
Symphony n° 5 in minor C, COp 102 (1837) - (I. Andante. Allegro, II. Larghetto, III. Scherzo, IV. Presto)
Symphony n° 6 in G major " Historische Sinfonie im Stil und Geschmack vier verschiedener Zeitabschnitte" History, COp 116 (1839) - Each movement is dedicated to the imitation of the styles of last musics: I. Bach - Handel' sche Period, 1720 Largo - Serious, II. Haydn - Mozart' sche Period, 1780 Larghetto, III. Beethoven' sche Period, 1810 Scherzo, IV. Allerneueste Period, 1840 long-lived Allegro. - In the first movement Spohr uses the running away in minor C of the quite moderate Harpsichord and an atmosphere close to Pastoral to the Messiah. In the second, the models are symphonies 38 and 39 of Mozart. In the third, the model is borrowed from the Seventh symphony. Lastly, the style of the last turns to the satyr of Adam or Auber and in particular the opening of the Dumb woman of Portici that Spohr directed many times in Cassel. One can wonder why Spohr sought this Finale incongruous and odd.
Symphony n° 7 " Irdisches und Göttliches im Menschenleben" terrestrial and the divine one in the human life for 2 orchestras (1841) - (I. " Kinderwelt". Adagio - Allegro, II. " Zeit der Leidenschaften". Larghetto - Allegro moderato, III. " Endilcher Sieg of Gottlichen". Presto)
Symphony n° 8 , COp 137 (1847) - (I. Adagio, II. Poco Adagio, III. Scherzo. Allegretto, IV. Finale. Allegro)
Symphony n° 9 " Die Jahreszeiten" Seasons so minor, COp 143 (1849/50) - (I. " Der Winter" (The winter). Allegro maestoso, II. " Der Ubergang zum Fruhling" (Transition about spring). The istesso tem, III. " Der Fruhling" (Spring). Moderato, IV. " DER sommer" (The summer). Largo, II. " Einleitung zum Herbst" (Prelude to the autumn). Long-lived allegro, III. " Der Herbst" (The autumn). The istesso tempo)

Steps & openings

Opening, COp 12 (1807)
Large opening in concert in major F, WoO 1 (1819)
Festmarsch (1825)
Waltz for orchestra in major the " Erinnerung year Marienbad" , COp 89 (1833)
Opening in concert " im ernsten Stil" , COp 142 (1842)

Chamber music

Toothing-stone alone

Imagination in minor C for toothing-stone, COp 35 (1807)
Variations on " I am still in my printemps" of Méhul, for toothing-stone, in major F, COp 36 (1807)
Imagination in minor C for toothing-stone, COp 53

Duets violin & toothing-stone

6 Sonatas for violin & toothing-stone (or violoncello and toothing-stone or piano)

Sonata for violin & toothing-stone in major B flat, COp 16 (1806) (I. Allegro, II. Adagio, III. Rondo. Allegretto)
Sonata concerting for violin & toothing-stone n° 1 in minor C, WoO 23 (about 1805) - (I. Adagio - long-lived Allegro, II. Andante - Allegro)
Sonata concerting for violin & toothing-stone n° 2 in major E flat, COp 113 (1806)
Sonata concerting for violin & toothing-stone n° 3 in major D, COp 114 (1811) - (I. Allegro long-lived, II. Andante. Pot-rotted on topics of " the Magic Flute ")
Sonata concerting for violin & toothing-stone n° 4 in major D, COp 115 (1809) - (I. Allegro brilliant, II. Adagio, III. Rondo. Allegretto)

Duets violin & toothing-stone (or flute and toothing-stone or piano)

Pot-rotted on topics of the " Flute enchantée" of Mozart, in minor F sharp, COp 50 (1820)
Imagination on airs of " Der Alchymist" , COp 117
Imagination on topics of Haendel and Vogler, COp 118 (1814)
6 Duettino, COp 127 (1843)
6 Parts, COp 135

Trio with toothing-stone

Trio for toothing-stone as a semi minor, violin and violoncello, WoO 28 (1806) (I. Allegro - II. Andante idiot motor bike - III. Rondo. Allegretto)

Duets with violin

18 Duets for 2 violins

3 WoO Duets 21 (1796)
Duet WoO 22
Duos COp 3 (1802/05)
2 concerting Duets, COp 9 (1807): n° 1 in major C (I. Allegro, II. Poco Adagio, III. Allegro) & n° 2 in the major one (I. Allegro long-lived, II. Rondo. Allegretto)
3 Large Duets COp 39 (1816): n° 1 in minor D, n° 2 in major E flat, n° 3 into semi major.
3 concerting Duets, COp 67 (1824): n° 1 in the minor (I. Allegro, II. Andante, III. Rondo. Long-lived), n° 2 in major D (I. Allegro, II. Larghetto, III. Rondo. Long-lived), n° 3 in minor ground (I. Allegro, II. Tempo di menuetto & variations)
Large Duets in major F, COp 148 - Book of variations on the air " I am still in my printemps" COp 36 (1856)
Large Duets in major D, COp 150 (1856)
Large Duets in major C, COp 153 (I. Allegro, II. Andante, III. Minuet, IV. Rondo. Allegretto)

Large Duet for violin & viola as a semi minor, COp 13 (1808)

Sonata for violin with accompaniment of double bass

Duets violin & piano

3 Concerting Duets

Duet concerting for violin and piano in minor ground, COp 95 (1836)
Duet concerting for violin and piano in major F " Echoes of a voyage to Dresden and in Switzerland saxonne" , COp 96 (1836)
Duet concerting for violin and piano into semi major, COp 112 (1837)

Trios

5 Trios concerting with piano

n° 1 as a semi minor, COp 119 (1841) - (I. Moderato, II. Larghetto, III. Scherzo, IV. Finale. Long-lived)
n° 2 in major F, COp 123 (1842) - (I. Allegro moderato, II. Larghetto, III. Scherzo, IV. Finale. Long-lived)
n° 3 in the minor, COp 124 (1842) - (I. Allegro moderato, II. Andante idiot variazioni, III. Scherzo, IV. Finale. Presto)
n° 4 in major B flat, COp 133 (1846) - (I. Allegro, II. Menuetto, III. Poco adagio, IV. Finale. Presto)
n° 5 in minor ground, COp 142 (1849) - (I. Allegro long-lived, II. Adagio, III. Scherzo, IV. Finale. Allegro molto)

Violin & trio with cords

Variations in the major one for violin and trio with cords, COp 6 (1805) (I. Introduction. Adagio - Topic. Andante più Allegretto - II. Variations 1-4)

Variations in minor D for violin and trio with cords, COp 8 (1806) (I. Introduction. Adagio - Topic. Andante - VAr. 1: Più Allegro - VAr. 2: Più lento - VAr. 3: Undervalue Adagio - VAr. 4: Tempo I)

String quartets

34 string quartets

2 Quartets, COp 4 (1807)

Quartet n° 1 in major C (I. Allegro spiritoso, II. Menuetto. Allegretto, III. Adagio, IV. Allegro)
Quartet n° 2 in minor C (I. Allegro moderato, II. Poco adagio, III. Scherzo. Allegro, IV. Finale: Rondo. Long-lived)

Quartet n° 3 " Brillant" in minor D, COp 11 (1807) - (I. Allegro moderato, II. Adagio, III. Rondo)
2 Quartuors COp 15 (1808)

Quartet n° 4 in major E flat (I. Allegro long-lived, II. Andante, III. Menuetto. Allegretto, IV. Rondo. Presto)
Quartet n° 5 in major D (I. Allegro moderato, II. Scherzo. Long-lived allegro, III. Finale: Largo - Allegro molto)

Quartet n° 6 in minor ground, COp 27 (1812). With double bass. (I. Allegro moderato, II. Adagio, III. Menuetto. Allegretto, IV. Finale. Long-lived)
2 Quartets, COp 29 (1813/15)

Quartet n° 7 (I. Allegro, II. Andante idiot Variazioni, III. Scherzo. Moderato, IV. Finale. Long-lived)
Quartet n° 8 (I. Allegro, II. Adagio, III. Menuetto. A poco Allegretto, IV. Finale. Long-lived)

Quartet n° 10, COp 33 (1815)
Quartet n° 11 in semi major " Brillant" , COp 43 (1817) - (I. Allegro, II. Adagio, III. Tempo di minuetto. A long-lived poco)
3 quartets, COp 45 (1818)

Quartet n° 12 in minor C (I. Allegro, II. Scherzo. Long-lived, III. Grazioso andante, IV. Finale. Presto)
Quartet n° 13 semi minor (I. Allegro long-lived, II. Larghetto, III. Menuetto. Moderato, IV. Finale. Long-lived)
Quartet n° 14 minor F (I. Adagio - Allegro long-lived, II. Adagio, III. Scherzo. Presto, IV. Finale. Long-lived)

3 quartets, COp 58 (1821)

Quartet n° 16 in major E flat (I. Allegro long-lived, II. Adagio, III. Scherzo, IV. Rondo. Long-lived)
Quartet n° 17 it minor (I. Moderato, II. Andante idiot variazioni, III. Long-lived scherzo, IV. Rondo all 'Espagnola)
Quartet n° 18 G major

Quartet n° 19 in major the " Brillant" , COp 68
3 quartets, COp 74 (1826)

Quartet n° 20 in the minor (I. Allegro long-lived, II. Larghetto idiot motor bike, III. Scherzo, IV. Rondo. Allegretto)
Quartet n° 21 in major B flat (I. Allegro long-lived, II. Larghetto, III. Allegretto idiot variazioni, IV. Finale. Allegretto)
Quartet n° 22 in minor D

3 quartets, COp 82 (1828/29)

Quatuor n° 24 into semi major (I. Allegro, II. Adagio, III. Polacca went. Moderato, IV. Finale. Allegro)
Quartet n° 25 in G major (I. Allegro, II. Andante, III. Scherzo. Long-lived, IV. Finale. Andante - Allegro)
Quartet n° 26 in the minor

Quartet n° 26 in major E flat " Brillant" , COp 83
3 Quartets COp 84 (1832)

Quartet n° 27 in minor D (I. Allegro long-lived, II. Larghetto, III. Scherzo, IV. Finale. Allegro)
Quartet n° 28 in the major one (I. Allegro, II. Adagio, III. Scherzo, IV. Rondo. Allegretto)
Quartet n° 29 in so minor (I. Allegro, II. Menuetto. Moderato, III. Adagio, IV. Finale. Allegretto)

Quartet n° 30 " Brillant" in the major one, COp 93 (I. Andante - Allegro, II. Larghetto, III. Rondo. Allegretto)
Quartet n° 31 in the major one, COp 132
Quartet n° 32 in major C, COp 141 (I. Allegro moderato, II. Larghetto, III. Scherzo. Allegro, IV. Finale. Presto)
Quartet n° 33 in G major, COp 146
Quartet n° 34 in major E flat, COp 152 (summer 1857) - (I. Adagio - Allegro, II. Larghetto idiot motor bike, III. Menuetto, IV. Finale. Allegro)

String quintets

7 String quintets à for 2 violins, 2 violas & violoncello

Quintet n° 1 in major E flat, COp 33 n° 1 (August 1814) - (I. Allegro, II. Larghetto, III. Minuetto - Moderato, IV. Finale. Allegretto)
Quintet n° 2 in G major, COp 33 n° 2 (at the end of 1813) - (I. Allegro, II. Scherzo, III. Andante idiot Variazioni, IV. Finale. Allegro)
Quintet n° 3 in so minor, COp 69 (1826) - (I. Allegro, II. Scherzo, III. Adagio, IV. Rondo)
Quintet n° 4 in minor ground, COp 91 (1834) - (I. Allegro - II. Larghetto - III. Menuetto - Scherzo. Presto - IV. Finale. Presto)
Quintet n° 5 in minor ground, COp 106 (1838) - (I. Allegro moderato, II. Larghetto, III. Scherzo, IV. Pastoral finale. Allegro molto)
Quintet n° 6 as a semi minor, COp 129 (March 1845 February) - (I. Allegro, II. Scherzo. Long-lived, III. Adagio, IV. Finale. Presto)
Quintet n° 7 in of minor ground, COp 144 (1854) - (I. Allegro moderato, II. Larghetto, III. Menuetto, IV. Finale. Allegro moderato)

Other works of room

Quintet with piano in minor C, COp 130 (I. Allegro moderato, II. Scherzo, III. Adagio, IV. Finale. Long-lived)

Quintet in minor C, for flute, clarinet, horn, bassoon & piano, COp 52 (1820)

Imagination & Variations on a topic of Danzi in major B flat, for clarinet, string quartet & double bass, COp 81

Pot-rotted on topics of Mozart in major B flat, for violin, string quartets & double bass, COp 22 (1807) (I. Adagio idiot espressione - II. Allegretto - III. Andante idiot espressione - IV. Allegretto - V. Allegretto)

Septuor in major C, for 2 violins, 2 violas & 2 violoncellos, COp 140 (1848) (I. Allegro moderato - II. Larghetto - III. Scherzo. Moderato - IV. Finale. Presto - Scherzo. Moderato - Presto - Scherzo. Moderato - Prestissimo)

Septuor in the minor, for flute, clarinet, bassoon, horn, violin & violoncello & piano, COp 147 (1853)

Octuor into semi major, for string quintet, double bass, clarinet & 2 horns, COp 32 (1814). The parts for the 2 horns are strong virtuosos. The Andante, in the form of variations, uses topic of Haendel the merry blacksmith . - (I. Adagio - Allegro, II. Menuetto. Allegro, III. Andante idiot Variazioni, IV. Finale. Allegretto)

4 Double String quartets

n° 1 in minor D, COp 65 (1823) - (I. Allegro, II. Scherzo. Long-lived, III. Larghetto, IV. Allegretto molto)
n° 2 in major E flat, COp 77 (1827) - (I. Allegro long-lived, II. Menuetto - Trio, III. Larghetto idiot motor bike, IV. Allegretto)
n° 3 as a semi minor, COp 87 (1833) - (I. Adagio - Allegro, II. Andante idiot variazioni, III. Scherzo. Allegro, IV. Finale. Allegro molto)
n° 4 in minor ground, COp 136 (1847) - (I. Allegro, II. Larghetto, III. Scherzo. Moderato - Trio, IV. Finale. Long-lived)

Little nun in major F for violin, viola, violoncello, double bass, flute, oboe, clarinet, horn & bassoon, COp 31 (1813). One of the most known works of the repertory. (I. Allegro, II. Scherzo. Allegro - Trio. Adagio, IV. Finale. Long-lived)

Notturno für Harmony und Janitscharenmusik for winds & janissary in major C, COp 34 (1815) (I. Marcia. Moderato - II. Menuetto. Allegro - III. Andante idiot variazioni - IV. Polacca - V. Adagio - VI. Finale. Long-lived)

Lieder

Spohr composed approximately 90 Lieder. For the texts see www.recmusic.org

With opus

6 Lieder COp 25 (1809)

n° 1 Wiegenlied (" Eya popeya, so leise, so lind, wieg dich in Schlummer") (Karl Emil Konstantin von Goechhausen)
n° 2 Schottisch Lied (" Mir STI, als müßt' ich to dir was sagen") (popular song)
n° 3 Gretchen (" Meine Ruh' STI hin") (Goethe) - It is on the same poem that Schubert will compose its Lied later five years.
n° 4 Lied der Freude
n° 5 Zigeunerlied (" Im Nebelgeriesel, im tiefen Schnee") (Goethe)
n° 6 Das Schiffermadchen

6 Lieder COp 37 (1815/16)

n° 1 Nice Lied (" Kennst of the das Land, wo die Zitronen blühn") (Goethe)
n° 2 Lebenslied (" Schnell geniesst die schnellen Stunden") (Heinrich Schmidt)
n° 4 Getrennte Liebe (" Der Liebe bangen Sorgen erbleicht der Freude Strahl! ") (Heinrich Schmidt)
n° 5 Liebesschwarmerei
n° 6 Lied beim Rundetanz of round (" Auf! be dunkelt; silbern funkelt") (Johann Gaudenz Freiherr von Dirtied-Seewis)

6 Lieder COp 41 (1815/16)

n° 1 Of Mädchens Sehnsucht (" Das Herz STI gewachsen. Es pocht in der Brust") (Johann Friedrich Kind)
n° 2 Lied aus Aslauga of Ritter (" Ach, wär' ich nur ein Vögelein! ") (The Mound-Fouqué)
n° 3 Nice Year (" Über Tal und Fluss getragen zieht kidney DER Sounds Wagen! ") - One of most beautiful the Lied of Spohr.
n° 4 Klagelied von den drei Rosen (" Drei Rosen hielt ich in Händen") (Christian Karl Ernst Wilhelm Buri)
n° 5 DER erste Kuss
n° 6 Vanitas! Vanitatum Vanitas (" Ich hab' meine Sach' auf nichts gestellt, juchhe! ") (Goethe)

6 Lieder COp 72 (1826)

n° 1 Frühlingsglaube spring (" Die linden Lüfte sind erwacht") (Johann Ludwig Uhland)
n° 2 Schifferlied der Wasserfee
n° 3 Ghasel (" Wer hätte sie gesehn und nicht auch sie geliebt?") (Adil)
n° 4 Beruhigung (" Herz" weapons;) (Anonymity)
n° 5 Year Rosa Maria (" Gabst to mir längst dein schönes Herz") (Amalia)
n° 6 Schlaflied (" Ruhe, Süßliebchen, im Schatten") (Johann Ludwig Tieck)

COp 92 (1835/36)

n° 2 Bollard, bollard! (" Bollard, bollard! einen Blick aus den holden blauen Augen") (Heinrich Schmidt)

COp 94 (1835/36)

n° 3 Der Bleicherin Nachtlied (" Wellen blinkten durch die Nacht") (Robert Reinick)
n° 4 Ungeduld (" Ich schnitt be gern in ale Rinden ein") (Wilhelm Müller)
n° 5 Schwermut (" Als mein Leben flight Blumen hing") (Siegfried August Mahlmann)

COp 101 for voice and piano with four hands (1837)

n° 1 Frühlingsglocken (" Schneeglöckchen concealed läuten! ") (Robert Reinick)
n° 2 Sangeslust (" Das Vöglein singt den ganzen Tag") (Julius Eberwein)
n° 3 Nichts Schöneres (" Als ich zuerst dich hab' gesehn") (Robert Reinick)
n° 4 Trostlos (" Der Regen rasselt, be saust der Sturm") (Alb. vom Hochwald)
n° 5 Schweigen STI ein schönes Ding (Robert Reinick)

Sechs deutsche Lieder für eine German Singstimme, Klarinette und Klavier, COp 103 Lieder for voice, clarinet & piano (1837) (See Media low). - One is unaware of if Spohr were informed of the " Shepherd on Rocher" of Schubert, published in Vienna in 1830, but the collection is undoubtedly ended the most of the type-setter.

n° 1 Sei still mein Herz my heart (" Ich wahrte die Hoffnung tief in der Brust") (Schweitzer)
n° 2 Zwiegesang (" Im Fliederbusch ein Vöglein saß") (Robert Reinick)
n° 3 Sehnsucht desire (" Ich blick in mein Herz und ich blick in die Welt") (Emanuel von Geibel)
n° 4 Wiegenlied (" Ales still in süßer Ruh") (Hoffmann von Fellersleben)
n° 5 Das heimliche Lied secret sorrow (" Es gibt geheime Schmerzen") (Ernst Koch)
n° 6 Wach auf! you! (" Was stehst of the lange und sinnest nach? ") (anonymity)

COp 105 for soprano, tenor & piano (1838)

n° 1 Zu Augsburg steht ein hohes Haus (Andreas Christian Kerner, known as Justinus Kerner)
n° 2 Der Rosenstrauch (" Das Kind schläft unter dem Rosenstrauch") (Edouard Ferrand)
n° 3 Das Ständchen (" Was wecken aus dem Schlummer mich") (Johann Ludwig Uhland)
n° 5 Of Mädchens Klang (" Ich bin so bleich, of the bist so rot") (Karl Friedrich, Freiherr von Schweitzer) (Christoph August Tiedge)

COp 107 for soprano, tenor & piano

n° 1 Liebesfragen (" Sag wie kann man Lieb' erkennen?") (H. Schulz) (1838)
n° 2 Wechselgesang (" Wer lässt yesterday so lieblich, wer lässt so allein")

COp 108 for two soparano & piano (1838)

n° 1 Abendlied " Die stille Nacht heisst niedre Sorgen schweigen" (Johann Friedrich Rochlitz)
n° 3 Ruhe (" Wenn im letzten Dämmrungsstrahle") (Gottl. von Deuern)

Year Sie amndt Klavier (" Pulsate, höret auf zu schlagen"), COp 138 (Karl Johann Ritter Braun von Braunthal)

COp 139 (1848)

n° 4 Lied aus dem Mährlein von der Wasserfee (" Über die Wellen zieht zagend und trauernd") (Mathilde Beckmann-Raven)
n° 5 Was to mir wohl übrig bliebe (August Heinrich Hoffmann von Fallersleben)

Sechs Lieder für Bariton put Begleitung von Violine und Klavier, COp 154 Lieder for voice and accompaniment of violin & piano (1856)

n° 1 Abend-Feier of festival " Leise schleich' ich mich amndt Abend" (H. Mahn)
n° 2 Jagdleid of hunting " Does Seht ihr' S sleep funkeln in rötlicher Pracht? " (Friedrich Spohr, 1776-1840)
n° 3 Töne of the sounds " Worte hab' ich nicht, um to dir zu sagen" (R. Otto)
n° 4 Erlkönig King of the alders " Wer reitet so spät durch Nacht und Wind?" (Goethe)
n° 5 Der Spielmann und deine Geige ménestrel and its violin " VOR Gottes Aug', dem Abendrot, " (Höppe)
n° 6 Abendstille calms evening " Der Tag hat sich zur Ruh' gelegt" (Johann Koch)

Lieder without opus

Lied of the verlassen Madchens, WoO 90
Nachgefühl (" Wenn die Reben wieder blühen") (Goethe), WoO 91 (1819)
Der Erbvertrag: Was treibt den Waidmann in den Wald, for soprano, horn and toothing-stone (" Lied der Emma"), WoO 92 (1825)
Das Wirsthaus zu (" Im Wirsthaus geht be aus und ein") (Adolf von Tides), WoO 93 (1836)
Mitternacht (" Die Wolken ziehen schwarz und hoch") (Franz Ferdinand von Dingelstedt), WoO 97 (1838)
Jenseits (" Wo blüht das Tal wo Liebe sich ew' Ge Kränze flicht? ") (F. Bobrich) for soprano, tenor & piano, WoO 98 (1838)
Unterwegs (" In die blaue Luft hinaus einen stillen Gruss nach Haus"), WoO 101 (1839)
Lied (" Singet die Nachtigall im dunkeln Wald") (Joseph Christian Freiherrn von Zedlitz), WoO 105 (1841)
Wolle Keiner mich fragen (Emanuel von Geibel), WoO 106 (1842)
Tränen (" Was ist' S, O Vater, was ich verbrach") (Adelbert von Chamisso), WoO 108 (1842)
Gruss (" Immortal! bring' mein " gute nacht" ihr hin") (Karl Johann Ritter Braun von Braunthal), WoO 110 (1843)
Mein Vaterland (" Treue Liebe (a) zum Grabe schwör' ich to dir put Herz und Hand") (August Heinrich Hoffmann von Fallersleben), WoO 111 (1844)
Ermutigung (" Freudig zum Himmel auf blicke mein Herz!") (Karl Friedrich, Freiherr von Schweitzer), WoO 112 (1845)
Sehnsucht (" Überall in dem All, mag ich liegen oder stehen") (Daniel E. Meier), WoO 114 (1845)
Mein Heimatland (" Wo reiner Liebe gold' Strahlen") for 2 sopranos & piano, WoO 116 (1847)

WoO 117 per 2 soprano & piano (1849)

n° 1 Ermunterung (" Der Vogel steigt, ein verkörpertes Lied") (Karl Egon Ebert)
n° 2 Sonntagsfrühe (" Feierlicher Glockenklang hallet durch die stillen Felder") (Adolph Lange)

WoO 119 (1850)

n° 1 Zuleikha (" Nicht put Engeln im blauem Himmelszelt") (Friedrich Martin von Bodenstedt, according to Mirza Shafi Vazeh)
n° 2 Trinklied (" Füllt mir das Trinkhorn! reicht be herum! ") (Friedrich Martin von Bodenstedt)
n° 3 Fatima beim Saitenspiel (" Deine Finger rühren die Saiten") (Friedrich Martin von Bodenstedt)

Erwartung (" Komm in den Garten! Ich harre dein") (Karl Johann Friedrich Franz Bassewitz), WoO 121 (1853)
Die verschwiegene Nachtigall (" Unter den Linden") (Walther von der Vogelweide), WoO 126
Neue Liebe, neues Leben (" Herz, mein Herz, was ground das geben? ") (Goethe), WoO 127 (1858)

Works for the scene

Operas

Faust (1813, Creations: Prague September 1st, 1816 and Covent Garden of London July 15th, 1852 - Opera in 2 acts, booklet of Joseph Carl Bernard according to Life, actions and descent in hell of Faust (1792) of Friedrich Maximilian Klinger, 1752-1831) WoO 51. The opening was published like COp 60 in 1823. The revision of 1852 cuts out work in 3 acts and replaces the dialogs by récitatifs.

Zémire and Azor (Frankfurt, April 4th, 1819 - opera in 2 acts, booklet of Johann Jakob Ihlée according to Jean-François Marmontel) WoO 52

Jessonda (1822 - creation: Cassel, July 28th, 1823 - Opera in 3 acts, booklet of Eduard Heinricht Gehe according to tragedy of Lemiere Antoine-Sailor, 1723-1793 the widow of the Hefty fellow or Empire of the habits of 1780) WoO 53. The opening was published like COp 63 in 1824.

Die Prüfung (Gotha 1806, operetta in 1 act, according to Eduard Henke), WoO 48. The opening is published under the COp 15 in 1809.

Alruna die Eulenkönigin the Queen of the owls (Weimar 1808 - opera in 3 acts) WoO 49. The opening is published under the COp 21.

Die Kreuzfahrer Cross (1845 - Opera in 3 acts booklet of Johann Friedrich Schink according to Kotzebue), WoO 50

Der Berggeist of the mountain (Cassel, March 24th, 1825 - Opera in 3 acts, booklet of Georg Chr. W.A. Döring according to Karl August Musäus) WoO 54 (Opening COp 73).

Pietro von Abano (Cassel, October 13rd, 1827 - Opera in 2 acts, booklet of Karl Pfeiffer according to Ludwig Tieck), WoO 56 (Opening, COp 76).

Der Alchymist (Cassel, July 28th, 1830 - Opera in 3 acts, booklet of Karl Pfeiffer according to Washington Irving), WoO 57

Der Zweikampf put der Geliebten Duel with liked (Hamburg, 1811, Singspiel in the 3 acts)
Der Sturm von Missolunghi (1826).
Der Matrose (1838)

Other works for the theater

"O neu Gefühl O Welt" , Aria of Amazili of Jessonda , WoO 79 (about 1825). The orchestration was lost.

Lied zum Schauspiel Die beiden Galeerensklaven (Karl Gottfried Theodor Winkler) for soprano, chorus and orchestra, WoO 66 (1824)

Opening and 8 numbers for Macbeth de Shakespeare, WoO 55. The opening is published under the COp 75 (1825)

"Gebet VOR der Schlacht" for the drama of von Missolunghi for 5 Männerstimmen, WoO 83 (about 1826)

Opening, DER schwarze Jäger , WoO 152 (1818)

Oratorios

Das jüngste Gericht last Judgment '', WoO 60 (August 14th, 1812). Ordered by the French Governor of Erfurt for the birthday of Napoleon. Before writing this Spohr work lengthily studied the Traité running away and counterpoint (1753) of Marpurg (1718-1795), since it was of use at the time the oratorios comprise a running away. Spohr considering work too impersonal refused the publication of it.

Die Letzten Dinge for quartet of soloists, chorus and orchestra, WoO 61 (1826) - the booklet is of Friedrich Rochlitz on texts of St Jean and Ezéchiel.

Of Heilands letzte Stunden last hours of the Saver '', WoO 62 (1834) - the booklet is a poem of Rochlitz published in 1806.

Der Fall Babylons Fall of Babylon '', WoO 63 (1840 - creation: Festival of Nowich, 1842) - Text of Daniel. Work is the fruit of an order placed at the time of a round of the musician to England in 1839.

Psalms - Anthems

3 Psalms for soloists & double chorus has capella , COp 85 (1832) - Psalms 8,23 & 130.

Anthem for soprano, chorus & organ, COp 97 (November 22nd, 1823)

Gott, of the bist Gross you are tall '', COp 98 for soloists, chorus and orchestra (1836/38)

Vater Unser, cantata for soli, chorus and orchestra (May 1829)

Mass

Mass for 5 soloists and 2 choruses has cappella in minor C, COp 54 (1821)

Arrangements

Vincenz Schuzter, Tempo di Polacca in the major one for guitar-violoncello (or violin or flute) and guitar, extracted the opera Faust , act II (Dance mime).

Lost works

Introduction in minor D, for the tragedy in three acts " Helden Missolunghis" of Wilhelm Ehlers, WoO 4 (1830)

Works of other type-setters inspired by Spohr

Beethoven, Kurz STI Der Schmerz gun with 3 votes, in major F, for Louis Spohr, WoO 166 (1815)
Liszt, Die Pink , Lovesong according to the Opera Zémir and Azor , for piano S. 571 (1876)
Busoni, Introduction & Reduced , B 110 (1879/81)

Appendices

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