The Piano Quintet, which Albrecht completed in 1913, is in many respects indebted to the Romantic tradition although at times it displays signs of a development towards modern musical thinking, as can be heard, for example, in the theme of the last movement. And the pronounces youthful character of the work id based principally on themetic song-like elements whose lively pulse-beat and spontaneously imaginative counterpoint have an exceptional attraction for listeners. The first performance of the Piano Quintet, played by professors of the Music School with the composer at the piano, did not make much of an impression on the audience. Later, however, the work did receive the wide acceptance to which it was entitled.

(from booklet notes of MUSICA/790025-2)

Elegant salon style, all glitter and sparkle for the piano with the other instruments coming along only for the ride!

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: Sonata-Allegro design.
[2]: a set of variations on "Sur le pont d'Avignon", with shifting harmonies.
[3]: Sonata-Allegro with two scherzi.
[4]: free double fugue.
　
Effective, full Romantic style writing for the piano throughout. The fugue requires a fine octave technique.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

シューベルト没後１００周年記念作曲コンクールで優勝した「交響曲第６番」からの、作曲者自身によるピアノ五重奏への編曲。 オーケストラの技法をそのまま持ってきたためか、どこか室内楽離れしたスケールの大きい迫力ある音楽。 緊張感のある飽きさせない展開で、最後まで一気に聴けてしまう、隠れた名曲である。

[1]: the half step and tritone are very important; alternating hands, bitonal figuration, glissandi, simultaneous trills in extreme registers, chromatic passage work, tremolo, clusters.
[2]: sustained section, long pedal effects; large span reauired.
[3]: rhythmic figuration, shordal punctuation, repeated patterns; similar devices used in other movements.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: freely total around C; chordal; flowing arpeggi figuration mixed with arpeggiated chords; chromatic scalar passages; tremolo; syncopated triplets; octotonic; broken figuration in troplets; long scalar passages used as dramatic gestures; fluent octave techniaue and large span required.
[2]: dancelike; centers around f#; Hungarian gipsy flavor; spread-out Alberti-bass figuration; imitation; lush Romantic chords in Moderato section; glissandi.
[3]: chromatic; lyric; syncopated chords lead to Adagio molto; where there is much instrumental reaction between piano and strings; sweeping arpeggi gestures, Romantic descending chromatic chords a la Rosenkavalier; some changing meters; leads directly Poco a poco piu vivace.
[4]: Hungarian dance flavor; many octaves used to propel rhythm; tempo increases; concludes after a breathtaking pace in C.
　
Virtuoso writing somewhat reminiscent in style of Bartok's "Rhapsody", op.1.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: twelve-tone; dramatic gestures; chordal punctuation; tremolo; reauires large span.
[2]: repeatedharmonic seconds; rhythmic drive; short chromatic lines.
[3]: intense; varied figuration; low register of piano treated effectively.
[4]: hammered chordal sonorities; widely spread texture; strong driving rhythms in final section.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

現代曲。当団の選曲対象外か。

This dreamy, sensuous work in a Brahmsian vein contains effective writing for all the instruments, but the piano part seems by far to be the most important. The second movement has a rich Strauss-like melody, yet it has its own unique integrity and style. Many Romantic idioms, handled in a throughly crafted manner. Deserves reviving.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ブラームスの五重奏曲の影響が強く感じられる、堂々とした完成度の高い作品。

（前略）
　One notable example was the Swedish violinist and composer, Franz Berwald. Born in 1796, a year earlier than Schubert, he was at first largely self-taught as a composer; but in 1828 a scholarship enabled him to study in Berlin, where he met Carl Zelter and the mimeteen-tear old Mendelssohn, and absorbed many of the essentials of the central European style. Subsequently he achieved considerable success in Vienna with his opera, Estrella di Soria, and with various orchestral pieces; but sadly, recognition in his home country largely eluded him. Nowadays he is renenbered chiefly for the four symphonies he composed between 1842 and 1845, which reveal independence not only in their unusual structural features and strange turns of melody and harmony, but also in their resolute avoidance of the more subjective or rhetorical aspects of Romanticism.
　It was not until 1849 that Berwald embarked seriously upon chamber composition, producing during the next ten years, four piano trios, two piano quintets, and two string quartets. The preponderance of works with piano is surprising in view of his early training as a violinist and lack of significant skills as a pianists; and it is undeniablethat his most accomplished works are his quatets for strings alone. His keyboard trios and quintets are none the less full of interest for their stylistic traits, and certainly effective in performance. Their piano parts, despite being somewhat orchestral in character and often very demanding, are designed with sensitive keyborad poetry in mind rather than extravagant virtuoso display. As te composer trenchantly put it in the foreword to the second of his quintets: 'it would be very agreeable to me if every crowd of virtuosos, who play only with the fingers and not with the head and the heart, would kindly ignore my compositions'.
　The two piano quintets --- issued by the Hamburg publisher, Schuberth, as 'Op.5' in C minor and 'Op.6' in A major, in July 1856 and September 1857, respectively --- had curiously tangled origins. The C minor work, which was composed in 1853, is described in the autograph source as 'No.2', apparently because it had been preceded by a composition of the same type in A major (composed c.1848-50), of which the only movements to survive complete are an intertwined Larghetto and Scherzo. In the autograph of this earlier work, there remain of the first movement only the last 23 bars, the rest having been torn out and, presumably, destroyed. However, since these final bars are identical to those at the end of the first movement of 'Op.6', it is more than likely that 'Op.6' is a reworking of the earlier A major Quintet, with a new Scherzo and Andante replacing its discaeded movements and a new Finale added. And if, as seems probable, the 'Op.6' Quintet was completed before the C minor one, but held back for later publication, this would explain any inconsistency in the sequence of their opus numbers.

("The Piano Quartet and Quintet" by Basil Smallman, Oxford University Press, pp.53-55)

作曲者自身は、「これぞまさしく真の音楽」などと、自らの手による作品にいたく感銘したコメントを 残しているようである。また、ベーレンライター社が全集を出版するなどこの作曲家に対する評価は 高いようであるが、この曲に関しては、確かに完成度の高さは感じたが、特別な説得力があるようには 私には思われなかった。
　
The piano writing contains moments of highly original and poetic treatment, although Mendelssohn's influence looms large.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Quarter-tone usage. picturesque exoticism, mildly contemporary model flavor, massive opening movement.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: two twelve-tone sections; the second is an exact transposition of the first, used only malodically; no other serial rules incorporated; the falling fifth outlines a tonic feeling; tritone frequently used.
[2]: theme and variations; rich sonorities.
[3]: rondo with lyric interludes; bitonality plays an important part.
　
Strong thematic ideas. Not as virtuosic as the first Quintet.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Quintet No.1 in E minor (G.407) is in four movements. Straight away, in the opening Allegro comodo, the rich piano part plays an important role in providing balance and variety in the timbres, from the dreamy nonchalance of the beginning to the brilliance at the end of each large section, not to forget the delicate modulations of the cantral development. For the movement is in traditional (but elaborate) sonate form. It is reminiscaent in spitit of the works of the Silesian Johann Schobert, who had settled in Paris and whom Boccerini perhaps heard during his stay there in 1767, and there are occasional Mozartian strains. In the Adagio, a sweet melody is first stated by the quintet alone, before being supported by an arpeggiated piano part; the second section comprises a subtle discourse between the instruments. The Minuetto con moto and the final Allegretto (in E major this time) are typical of the Boccherinian spirit: the briefly outlines dance of the minuet, with its good-natured trio, close to the bonhomie of Haydn, and the volubility of the finale with its theme "whispered" on the delicate runs of the pianoforte. An important section, Minore, contains a snippet of a quintet, providing a cantando part for the cello.

(from booklet notes of Astree/E8518)

Quintet No.2 in F major (G.408) is also in four long movements, but they are not so independent on one another as in the previous quintet. In the opening Allegro, the theme, played first of all by the quartet, seems to be searching for its identiny, before being "ballasted" by the pianoforte. The whole movement relies on a subtle play of lines, sometimes soaring motionless, sometimes sinuous in their delicately rhythmical balance. The Minuetto amoroso (in second position, this time) plays on a curious contrast between a slightly hieratic theme, openly stated, in the menner of an ancient dance, and more "orchestral" tones, particularly in the vehement trio, which is thus promoted to an unexpected position. The Poco adagio begins with the statement of a song-like, slightly elegiac theme (the composer requests that it be played soave), which then disperses into small, light cells and pizzicati, distributed among the voices of the quintet. This short movement serves as an introduction to the final Allegretto. A cantando, dance-like theme, ingenuous in character, leads us to suppose that we are embarking on a rondo, with episodes and recurrence of the refrain. The theme is restated as expected, but the surprise comes when we realize the gradual reinstatement of the thematic material from the first movement, before the work is brought to an end with an outright quotation of the very beginning of the quintet. This is thus an apparently "closed" work, in which the unexpected, surprise and recurrence are ingeniously combined. Boccherini enjoyed experimenting with these different ways of handling structure.

(from booklet notes of Astree/E8518)

Quintet No.5 in D major (G.411) is another example. Unusually, the work begins with an Andante sostenuto; a strange mixture of vigorous passages, forte, and moments of sweet "languishment", piano. It leads into a Minuetto allegro, whose unity is created by the regularity of the beat, the accents in place, the similarity between the trio and the minuet, and the homogeneity between the strings and the piano. It is a complete surprise when the opening Andante reappears, in a slightly different guise, its role apparently being to introduce an Allegro a modo di Marcia vivace, a jigsaw of very lively small sections, which give this movement the pace of a furious, slightly ironical galop. The final movement, Andante puittosto lento, is a series of six variations on a theme, borrowed from a recently-composed string quartet (opus 53, no.2 in D major of 2 March 1796, G.237). It is lively and mischievous, because of the variety of effects the composer uses and the general spirit of the piece, rather than the cleverness of the composition; it comes to a nimble conclusion.

(from booklet notes of Astree/E8518)

The piano quintet was a rare form when this work was composed. Intersting classic figuration and some unusual harmonies are used.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

The piano part assumes some individuality.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Boccherini came close to Haydn's and Mozart's style in this work. Foreshadows some of the later developments of the piano concerto.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Undistinguished writing by today's standards.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

どの楽章も聴きやすい音楽だが、明るく流暢な第２楽章が印象的。ただしトリオの部分はしっとりと落ち着いた感じ。 第１楽章は渋めで少々重苦しく、第３楽章は冗長かも。

(T.Yanaka)

---

[1]: graceful flowing lines, cantabile and legato.
[2]: large skips in left hand; chordal; some imitation; Trio uses octotonic writing and melody refers to the opening movement.
[3]: short motifs contrastedwith larger lines, broken-octave triplets, arpeggiation, syncopated chords, octave passages.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Henle edition(75pp.,parts) uses the autograph and Brahms's own marked copy of the first edition as sources; contains fingering of piano part by H.-M. Theopold; includes brief remarkes on each movement.
　
This work began as a string quintet, the fifth instrument being a second cello. It was rearranged as a sonata for two pianos(IMC), and finally emerged in its present form in 1865. This quintet is probably one of the ten greatest masterpieces in the chamber music repertoire. It is a big, muscular work for small forces, and has features in common with Beethoven's Quartet Op.95. In both compositions the finales have slow introductions followed by long, binary main sections, which lead into faster, lengthy codas. Thematic metamorphosis takes place in the first and third movements. The slow movement is rather difficult to sustain.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

第１楽章は、筆者好みの短調の切迫感のある主題。緊張感の途切れることのない展開力と進行の巧妙さは見事。 第２楽章は、叙情的な主部と、活気あるスケルツォ。夢見心地で非常に印象的な楽章。 第３楽章は情熱的なフィナーレ。少々重苦しい感も。

(T.Yanaka)

---

[1]: d-moll; chord in right hand with fast chromatic figuration in left hand and the reverse is a pattern frequently found in this work; bold arpeggiated strokes; lyric second theme in F-dur; tremolo.
[2]: B-dur; nocturne-like in style; chromatic; mid-section in d-moll; works to great octave climax; opening section and mood return.
[3]: driving rhythmic figuration; legato and staccato triplets; frequent modulation; alternationg hands; dramatic scalar and chordal gestures bring work to a close.
　
Strong post-Romantic writing.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

"Dramatique" という言葉から連想されるような劇的な展開は無い。割と静かで内向的なドラマであろうか。

第１楽章ははつらつと、第２楽章は美しく。そしてシューマンを思わせるような、 上行音形と下降音形の織り成す第３楽章の躍動感は見事。トリオの部分も実に美しい。 そして流れるような第４楽章へ。緊張感が途絶えることなく、また各楽器ともとても 魅力を活かした使い方をされていて、充実した作品である。
　
楽譜が最近になって出版されたこともありまだ知られていないが、 もっと高く評価されてもいいように思われる。

Slight Reger influence, violent dynamic changes, some complex polyphonic spots.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: serial; opens with octaves in extreme registers that move close togather and begin again, but moves directly into a sciolto figuration that embraces the main idea; triplet atonal (row) figuration spread over keyboard; punctuated chords (ninths and tenths) and whole-note chords bring the movements to a close.
[2]: the row is run through quickly in pointillistic fashion.
[3]: piano provides sustaining sonorities and marked chordal pulsation.
[4]: row is octotonically treated in various registers; chordal rhythmic punctuation.
　
Thin texures throughout most of the work.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: chromatic themes, pedal point under parallel moving chords, a few meter changes, Impressionistic tendencies.
[2]: sustained, low register exploited, broken arpeggi figurations, sweeping climax, seventh harmonies.
[3]: driving rhythms, chordal seconds frequently used, dancelike syncopations, contrasting sections.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: chromatic broken chordal figuration, grandiose chords, scalar.
[2]: parallel chords; builds to a large climax then subsides; triplets are frequent.
[3]: broken octaves, scales, repeated chords, contrary-motion figures.
[4]: alternating hands; sustained chords; arpeggi; dramatic piano part has a short quasi-recitativo section that leads to a Moderato (Alla marcia funabre) before returning to opening tempo and idea; brilliant conclusion.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

The split of Saint-Saens hovers over this work.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Strong Frank influence.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Brahms and Franck influences are felt here although the work does display a solid craft for the period.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

注：かの有名なチャイコフスキーとは別人。
　
[1]: Sonata-Allegro; proceeds almost from beginning to end in quarter notes; octotonic; modal; freely chromatic; dramatic development section leads to a mirror recapitulation with the climax at the beginning.
[2]: free rondo; lyrical refrain alternates with episodes; contrasting timbres of the piano and strings are underlined; abrupt tempo changes.
[3]: a poignant scherzo; toccatalike; SA characteristics; driving and impetuous; tense and dramatic main theme with a resilient rhythm.
[4]: an Adagio in Sonata-Allegro design without a development; progression of chords serves as the main theme, like a solemn procession; sombre and melodious secondary theme.
　
Emotions soar in this quintet but it gives an impression of being well knit, clear, and precise in its expression. A worthy work in a style best described as a mixture of Prokofiev and Khachaturian.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Traditional writing but exploits the piano admirably.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: introduction, Sonata-Allegro, chromatic and interesting rhythmic structure, figuration in alternating hands.
[2]: Schrzo, ABA, coda.
[3]: ABAB form, warm cantabile treatment of main A idea, contrasing B sections, coda.
[4]: rondo, freely tonal (but highly chromatic) and pianistic writing.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

In Brahms style and tradition.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ハイドンの「皇帝」のテーマを用いたヴァリエーション形式の曲。 さすがツェルニーだけあって、ピアノパートはとても華麗に書かれている。