Louis Spohr as a lost link between wiener classicism and german romanticism
The harmonic language of Spohr and its relationship with the Tristan chord
DOI:
https://doi.org/10.37536/quodlibet.2020.74.773Keywords:
analysis, chord, harmony, romanticism, Biedermeier, violin, opera, leitmotiv, symphony, 19th centuryAbstract
The main purpose of this article is to deepen the insufficiently studied figure of Louis Spohr. It focuses on the point of view of his fundamental and crucial role as a depositary of part of the 18th century heritage (from W.A. Mozart and J. Haydn) and his contribution to the music of authors as unlike as F. Mendelssohn and J. Brahms on the one hand and R. Wagner and F. Liszt on the other. Among the many facets in which Spohr could nowadays be considered an undervalued link between both extremes are different aspects such as, for example, the origin of the leitmotif, the orchestration, the transmission of the symbology of certain rhetorical formulas, etc. This article will delve into them, mainly in the development of harmonic language.
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