Richard Stöhr Chamber Symphony in F, Op.32

[Alan Howe]

Sounds glorious. All 50:45 of it!
https://www.prestomusic.com/classical/products/9810023--stohr-orchestral-music-vol-4

IMSLP tells us that this 'Kammersymphonie' was first published in 1921 and is actually a 'nonet', for oboe, clarinet, bassoon, horn, harp, 2 violins, viola and cello:
https://imslp.org/wiki/Kammersymphonie%2C_Op.32_(St%C3%B6hr%2C_Richard)

[Ilja]

The 2nd movement, Andante quasi marcia, can now be enjoyed in full on Presto Streaming, and it's magnificent. According to William Melton's excellent booklet text, the piece was originally, as Alan wrote, written for "string quartet, oboe, clarinet, horn, bassoon and harp". In this recording, Hobson has used a full-size symphonic string section which gives it a much "bigger", truly symphonic feel. The recording is excellent, and moreover rather cleverly balanced, which doesn't allow the strings to overwhelm the woodwinds at all. The part of the harp is particularly interesting, since Stöhr mostly uses it sotto voce, in a more or less pianistic way (at least, in this movement). You'd almost be forgiven for thinking there was a piano somewhere in the background.

I was once again struck by the recognizability of Stöhr's musical language. Melton gives some assessments of Stöhr by contemporaries, which I found insightful. Walter Niemann talks about: 

"Hugo Kaun, Paul Juon and the Viennese Richard Stöhr [as] composers who today swing back and forth between Classical, Romantic and Neo-Romantic forms and ideas, between Berlioz, Wagner, Liszt and Richard Strauss, who – a characteristic sign of our time of transition! – write chamber music and symphonies in classical forms as well as programmatic symphonic poems, double fugues as well as impressionistic poems of mood, bowing today to the goddess of the classically beautiful, tomorrow to the goddess of the modern [...]" 

He further quotes Ludwig Holtmeier's assessment of Stöhr as someone who 

"cannot simply be dismissed as a backward-looking conservative. [...] In particular, [...] he shows a very personal, "impressionistic" approach to harmony, even if he rarely oversteps the borders of traditional tonality".

I think these are fair appraisals. A personal note: getting to know Stöhr's work has been something of a revelation. Getting involved in unsung music is often a game of diminishing returns, and it is discovering forgotten jewels such as this that really help to keep me motivated.

Edit: a first review already, weirdly on LinkedIn.

[Ilja]

The recording is now available, and having heard the whole thing a few times now, boy can I recommend it. Using a bigger complement of strings elevates this to truly symphonic dimensions (I had heard the nonet version). 

[Mark Thomas]

I completely agree, it's a really great work and persuasively played in this new recording. Here and there one can hear Mahler's influence, particularly in the unexpected harmonic shifts, but generally Stöhr is his own man and all the better for it.

[semloh]

I completely agree, it's a really great work and persuasively played in this new recording. Here and there one can hear Mahler's influence, particularly in the unexpected harmonic shifts, but generally Stöhr is his own man and all the better for it.

Agree completely, Mark. I've always rated him highly and this Toccata Classics series is just wonderful.