[Op. 106]. Fünftes Quintett [in G minor] für zwei Violinen zwei Altviolen und Violoncell componirt und Herrn C.C. Reissiger zugeeignet... Op. 106. Pr. 2 Thlr. 15 Ngr. [Parts]

Dresden: Wilhelm Paul [PN 253], 1839. Folio. Disbound. Violino 1o.: 1f. (decorative title), [i] (blank), 4-15, [i] (blank) pp.; Violino 2o.: 11, [i] (blank) pp.; Viola 1a.: 11, [i] (blank) pp.; Viola 2a.: 9, [i] (blank) pp.; Violoncello: 9, [i] (blank) pp. Title lithographed; music engraved. Small publisher's handstamp to lower left corner of title.

Number "15" handstamped as header to all pages. Fingerings, bowings, and other annotations in pencil to Violino 1o.

Uniformly browned; slightly foxed; title leaf partially detached and frayed at spine and edges, with slight loss; tear to pp. 5-6 of Viola 2a. part. First Edition. Göthel p. 183. WorldCat (4 copies in the U.S., at the Eastman School of Music, Indiana University, the Free Library of Philadelphia, and the University of Washington, Seattle).

"The largest portion of Spohr's chamber music was for strings alone, ranging from 19 unsurpassed duos for two violins to four masterly, and largely unemulated, double string quartets. These, together with the 36 string quartets (and several other works for the same combination), seven string quintets and the String Sextet of 1848, display a number of common features. Spohr's own mastery of the violin is evident in all of them, and their technical difficulties, together with the particular style of performance necessary to secure their full effect, may partly explain their infrequent performance. The quartets, especially, fall into two distinct categories: solo quartets in the tradition of Rode (often entitled Quatuor brillant), which are essentially violin concertos with string trio accompaniment, and true quartets where the interest is more evenly divided between the instruments." Clive Brown in Grove Music Online.