These are spirited and well-recorded versions of what probably remain Spohr's most popular works. The Nonet is freshly and attractively played, with a proper sense of chamber music informing the performance: that is to say, there is a companionable approach to phrasing, with ideas taken up and returned or passed on as if the players were really listening to one another rather than waiting to say what they were going to say anyhow. Only in the finale do matters become a touch competitive: it is not necessary to go at quite such a speed, and indeed the feeling is of pace rather than the real liveliness which only a very slightly easier tempo might have produced; while some of the string articulation is only just in position. The Adagio is beautifully played, and together with the nimble Scherzo is given a gentle serenade manner: nothing is gained, and sometimes all lost, by trying to make something too profound of these movements.
In the Octet, there is a comparable approach, with a quick ear (also necessary among the engineers) for the unusual scoring—violin, two violas, cello, double-bass, clarinet and two horns. Much is made of the entertaining Harmonious Blacksmith variation movement with which Spohr's patron Tost believed he would conquer his intended English audiences. There is a well-judged performance of the peculiar Scherzo, which got a grumpycomment from Beethoven but in context (and that of what Spohr was trying to do stylistically) hasa point of its own. An excellent pairing of two enduringly attractive works.'