On May 6, 1848, the British newspaper The Musical World wrote, "Now that Mendelssohn is dead, Spohr holds the position of the first composer of the day, without a possible rival." This was a strong endorsement indeed and one with which few would argue at the time.

Louis Spohr was a German composer who wrote more than 150 works including nine symphonies, 15 violin concertos, four clarinet concertos, 36 string quartets, opera, oratorio and plenty of chamber music. He was a sensation from his earliest days as a child prodigy on the violin. He was a composer, conductor and a concert violinist his whole life — he is actually credited with inventing the violin chinrest. As a conductor, Spohr was one of the first to use a baton and is credited with adding rehearsal letters to music, another innovation. He is an important personality and composer in many ways; with his violin concertos he helped define the concerto during the Romantic Era, achieving new ways of musical expression by abandoning older performance practices.

Largely forgotten by the mid-20th century, today in the UK especially, there is a newfound appreciation for the music of Louis Spohr, with his works consistently programmed at concerts as well as Louis Spohr Societies that encourage and promote his compositions. The British group, The Nash Ensemble, offers two albums dedicated to chamber works for mixed ensembles by Louis Spohr, units of instruments that Spohr seem to like.

The first disc spotlights his Woodwind & Piano Quintet, Op. 52 and the Septet in A minor, Op. 147, which features an unusual combination of instruments — flute, clarinet, horn, bassoon, violin, cello and piano. The second album offers two larger chamber works written early in Spohr's career, the Nonet in F, Op.31, probably his most famous chamber work, and the Octet in E, Op. 32. The playing is vivid and inspired with each player confident and assured.

The Nash musicians seem to have a special relationship with this music, at once elegant, comfortable and filled with graceful lines and melody. It is the 19th century equivalent of 18th century serenades. All in all, this is a wonderful opportunity to hear the music of Louis Spohr, classical music's forgotten master.

—Terrence London