1805年, 路易斯.史博憑他精彩與富有表現能力的演奏而獲聘為德國哥達市(Gotha)公爵廳的樂團首席. 那時他已經開始成為作曲家, 並且在公爵廳工作的期間, 受到一位年輕的女豎琴家Dorette Scheidler的啟發而寫了幾首豎琴作品. 史博後來回想起聽到她演奏豎琴時的反應是"我深受感動而眼淚忍不住流了下來...,我雖然離開了,但我的心卻留下來了". 幾個月後兩人就結婚了,然後他就開始譜寫在未來的巡迴音樂會中演奏的音樂.
史博夫人演奏的是一種稱為單一動作踏板豎琴(single-action pedal harp),和在這片CD中用的是同一類型的樂器(後來被雙次動作踏板豎琴所取代, double-action pedal harp). 單一動作踏板豎琴最適合演奏降調音(flat keys), 而史博偏好將小提琴部份用升調音(sharp keys)編寫讓琴弦共鳴, 他還採用將豎琴調低半個音階(semitone)的方式來降低琴弦的張力. 因此在奏鳴曲Opp 113-115中,D大調和G大調,豎琴的部份是分別標註成降E與降A大調. 因為單一動作踏板豎琴精細的結構與穿線,因此具有像銀鐘聲的音色,非常適合編寫豎琴與小提琴奏鳴曲, 也因此這對演奏家的要求也很高. 但史博很明顯的不只是展現演奏家的技巧,也呈現演奏家的音樂表現能力. 此片由日本豎琴家長澤真澄和荷蘭小提琴家貝納迪妮演奏, 兩人都對史博的作品與演奏技巧有深刻的研究.
In 1805, on the basis of his brilliant yet expressive playing, the 21-year-old Louis Spohr was appointed Konzertmeisterat the ducal court in Gotha. By this time he had also begun to make his mark as a composer, and during his years at the court he would add several pieces for the harp to his list of works, inspired by the young harpist Dorette Scheidler. Spohr later recalled his reaction to her playing: `I was so deeply moved that I could scarce restrain my tears... I took my leave –but my heart remained behind!` Only months later, the two were in fact married and Spohr began to compose works which would form the repertoire during future concert tours.
Dorette Spohr played a so-called single-action pedal harp of a similar type to the instrument used on this disc. Soon to be replaced by the double-action pedal system, the single-action pedal harp was best suited for playing in flat keys. As Spohr preferred writing his violin parts in sharp keys, which allowed the resonance of the open strings, he adopted the method of tuning the harp a semitone lower, which had the added benefit of reducing the tension on the strings. The Sonatas Opp113-115, in D and G major, therefore have harp parts notated in E flat and A flat major respectively. Because of its delicate construction and stringing, the single-action harp has a distinct silvery bell-like sound and these sonatas are among the last important works specifically written for it. They are also the most demanding, but it is clear that Spohrintended them to display not only the technical skill of the two artists but also their musical expressiveness. The performers here are Masumi Nagasawaand Cecilia Bernardini, who have made a particular study of Spohr`swritings on performance practice.
Louis Spohr (1784–1859)
Sonata in D ma jor for harp and violin , Op. 113 22`12
1 ) I. Allegro brillante 10`40
2 ) I I. Adagio 4`04
3 ) I I I. Allegretto 7`14
Sonata in G ma jor for harp and violin , Op. 115 28`45
4 ) I. Allegro 13`05
5 ) I I. Larghetto 4`54
6 ) I I I. Rondo 10`33
Sonata in D ma jor for harp and violin , Op. 114 22`50
7 ) I. Allegro vivace 12`07
8 ) I I. Potpourri on themes from The Magic Flute 10`37
T T: 74`46
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