Fragment of an autograph musical manuscript in the hand of the German composer, violinist and conductor. The manuscript contains a section of 78 bars from the second movement of his Piano Trio no. 1, op. 119 over 4 pp. on 2 leaves. The music begins at 2 measures before the Peters edition's rehearsal letter N and goes to the end of the movement. The composer's corrections and changes are visible in several places, with some variances from the printed edition. Labeled as Spohr's autograph in several other hands in ink and pencil in the margins. Both leaves unfortunately split vertically in two places, with one large section of the second leaf missing and smaller areas of the first leaf missing. Toning; splits, chipping, and tears; but legible and overall in good condition. 15 x 10.75 inches (38.5 x 27.5 cm).
"During his early years Spohr wrote little involving piano except lieder [...] he largely ignored the piano until his second wife's pianistic ability (and perhaps the greater technical perfection of the instrument) came to arouse his interest. His pieces for violin and piano contain some attractive music, particularly the programmatic (or, rather, impressionistic) Reisesonate op.96; but the five piano trios (1841–9) are masterpieces of their kind, and extraordinarily individual in their approach to the medium."
Highly regarded during his lifetime, the German violinist and composer Louis Spohr composed ten symphonies, ten operas, eighteen violin concerti, four clarinet concerti, four oratorios and various works for small ensemble, chamber music and art songs. Spohr was the inventor of both the violin chinrest and the orchestral rehearsal mark. His output occupies a pivotal position between Classicism and Romanticism, but fell into obscurity following his death, when his music was rarely heard. The late 20th century saw a revival of interest in his oeuvre, especially in Europe.