Although virtually unknown to general audiences, the musical legacy of German composer, conductor and violinist Ludwig Spohr (known to English audiences of the day as Louis Spohr) is far-reaching indeed. Although little of his own music survives in the general repertoire, he is remembered as one of the pre-eminent conductors of the first half of the nineteenth century and as a seminal figure in the development of modern violin playing. Also, in addition to having invented both the violin chin-rest and rehearsal numbers/letters for printed music, he was the first major conductor to use a baton.

Born in Northern Germany in 1784, Spohr showed early talent for and interest in the violin, and by age fifteen he was a member of the ducal orchestra at Braunschweig. At eighteen he was sent by the Duke for a year of study with well-known violinist Franz Anton Eck, at the end of which time Spohr was considered ripe for a concert tour of his own. By 1805 the young virtuoso had become something of a sensation throughout Germany, whose audiences adored both Spohr's playing and his compositions. Between 1805 and his death in 1959 Spohr served in a number of court positions throughout Germany and Austria (leader of the orchestra at Gotha 1805-1812, leader of the orchestra at Theater An Der Wien in Vienna 1813-15, director of the Frankfurt Opera 1817-19, and Hofkapellmeister at the city of Kassel from 1822 to 1957), while remaining a frequent figure on the international music scene (including no fewer than six tours of England throughout the years).

Over six and a half feet tall, Spohr must have been an imposing figure on the podium. His conducting repertoire was vast, including such then-irregularities as Johann Sebastian Bach and Georg Friedrich Händel. A strong believer in new music, Spohr had a great impact on the careers of such progressive composers as Richard Wagner (whose operas Spohr was one of the first to conduct-Der Fliegender Holländer 1842, Tannhäuser 1853) and Berlioz, though Spohr himself never fully accepted their musical aesthetic--his own compositions never completely abandoned the blueprint of the Viennese masters (to the end he maintained that Wolfgang Amadeus Mozart was the perfect composer). While his operas, such as Jessonda (1823), were popular during his lifetime, they have since disappeared from opera houses, and only a few of his works-notably the Eighth Violin Concerto, a striking work in the form of an operatic scene, and the four clarinet concertos-are ever heard today (though in the late twentieth century there were some signs of a growing interest in his chamber and orchestral music).

Throughout his life Spohr was famous for being as generous and warm a person as he was profound a musician. He maintained an active interest in politics, and was considered a skillful painter and chess player. ~ Blair Johnston, Rovi