ヨーロッパの伝統的な形式で作曲されており、歌心と高揚感に満ちたドホナーニの傑作。 ドホナーニは19世紀末から20世紀にかけて活躍した作曲家で、おおらかさと叙情性を兼ね備えた作風、 情熱的な筆致はブラームスにも通ずる。 作品番号１を付けたこの五奏曲の初演時に、作曲者はみずからピアノパートを受け持った。

Written in the grand European tradition; sings and soars with the spirit that imbued the music of Dohnanyi's masters, who closed the nineteenth century and ushered in the twentieth. Brahms-like, broad, lyric, impassioned writing. Dohnanyi played the piano part at his debut as a composer.

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

ドホナーニの残した傑作のひとつで、高度な対位法が用いられている。楽曲の形式とドラマ性が密接に結びついている。 インテルメッツォ楽章の中間部にスケルツォが挟まれているが、これ意外は終始うす暗い雰囲気が支配している。 ロマンティックな作風だが、筆致はシンプルである。

One of Dohnanyi's most impressive works. Strong contrapuntal techniques; form and drama interact closely; sombre colors except for the scherzo (in the middle of the Intermezzo); Romantic but economical scoring.

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

Not of great musical worth but effectively scored for the instruments. Traditional turn-of-the century idioms and techniques.

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

The piano part is fuller than in Dvorak's Piano Quartets. First movement exploits submediant in the recapitulation and coda. National dance characteristics are found in the second movement (Dumka) and in the Furiant, which takes the place of a scherzo. A radiant rondo concludes the quintet. Intoxicating melodies, vital rhythms, colorful scoring, and contrasts in mood are present in abundance.

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

[1]: Sonata-Allegro; theme of the introduction plays an important part in fuether development; driving and dynamic main subject is followed by a lyrical second idea; development builds on the introduction and main subjects; recapitulation presents the second subject and a coda based on material derived from the first subject.
[2]: Sonata-Allegro; calm; melodious; first theme resembles a Russian folk song; second subject is in the nature of a slow march; an element from the first movement introduction is encountered in the more lively development section; the slower motion returns in the recap.
[3]: Sonata-Allegro; combines a scherzo and fast waltz; an extensive coda is based on a theme from the introduction of the first movement; the finale lends its bright and vigorous coloring to the whole work.
　
Idiomatic and kaleidoscopic writing. Mildly contemporary.

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

第１楽章は、聖歌ふうのモチーフで始まり、神秘的なフレーズと力強い部分が交錯する。 第２楽章は、いかにもエルガーらしい、豊熟した緩徐楽章。 叙情的な魅力に溢れた、あまりに美しい風景に、つい息をのんで聴き入ってしまう。 第３楽章は、活気のある、構築力の見事なフィナーレである。
　
[1]: chromatic, chordal, octotonic, arpeggi figuration, sixteenth-note octaves in left hand, 3 with 4.
[2]: broken chordal figures move over keyboard.
[3]: sweeping arpeggi patterns, chorale-like section, wide dynamic range.
　
Artistic writing but not always pianistically conceived.

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

Involved, highly chromatic although key signatures are present. Second movement is very long and includes varied tempi (Piu tranquillo provides a needed contrast). Individual and unique style that includes some wild and impassioned writing. Requires thorough musicianship throughout.

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

最終楽章では、オプションではあるがトランペットが使用されている。 最初そうとは知らずにＣＤを聴き始め、えらく仰天させられてしまった。

Three movements pf refined expression with a perfect sence of balance. The Adagio uses all instruments in a canonic workout with excellent effect and is the most successful movement. The finale develops from a single figure and is a masterpiece of delicate writing.

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

[1]: sixteenth-note patterns, swaying dancelike chromatic movement, thin textures, imitation.
[2]: scalar; broken octaves; broken double notes accompany melody in other hand; themes get tangled; triplets embedded with important bass line; flowing passage work; clever and vivacious.
[3]: important half-step melodic idea; added-note and syncopated chords; rotary motion required; deeply emotional; arpeggi; melancholy mood.
[4]: triple-time bass with the piano accenting duple rhythm; long lines; octave-apart melodic writing; alternating hands; thematic transformation.
　
A searching work of commanding proportions and great profundity. Shows the 71-year-old composer's fresh and youthful enthusiasm.

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

実際に全部聴くのと、最初の１分だけ聴いてそれを頭の中で７９回繰り返すのと、 ほとんど変わらないのではと思われる作品。晩年の作品に対する、 「あまりの長さに聴衆が退屈することに意義を見いだした」という評がそっくり当てはまる。 どの音も断片的に鳴るのみでフレーズを感じさせず、リズムや強弱にもほとんど変化が見られないという、 静かでボーっとした調子が延々と続いて８０分間、霧の中にいるような、おぼろげな感覚に支配される。 和音は全て不協和音だが、ただし不快さは全くなく、響きはどこか宇宙的。 聴く時の心理状態によっては心地良いかも。そして一度ハマったら病み付きになりそうな予感はある。 しかし、こんな単調で長い曲を良く演奏できるものだ。作曲するほうだって、どうやって 全体の構成を整えられるのだろう？？

オリジナルの編成は Vn,Cl,Hr,Vc,Pf であるが、2Vn,Va,Vc,Pf という編成での演奏も作曲者によって認められている。

One beautiful movement that is Andante con espressione, nocturne-like throughout. The piano carries the largest part of the ensemble.

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

[1]: Adagio sostenuto: chordal, sustained, leads to Allegro marcato: chords interspersed with octotonic disjunct figuration moving over keyboard; sustained slow section with references to the introduction interrupts from time to time, and these two basic ideas form the bulk of the movement.
[2]: continuous filigree figuration contrasted with rhythmic melodic idea; melodic idea is extended and accompanied by tonal repeated chords; long semi-chromatic runs; repeated A in piano part for final four bars concludes movement.
[3]: freely flowing tonal lines.
[4]: serpentine chromatic right-hand triplets with eighth-note octaves in left hand; independent lines in both hands; much rhythmic push.
　
Clear textures throughout.

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

[1]: serial, dramatic, chordal, trills, quick melodic spurts in 32nds; uses most of keyboard.
[2]: secco style; piano has cadenza-like section that exploits runs, chromatic thirds, and large skipping gestures.
[3]: piano has marked melodic line; octotonic; pointillistic effects; hammered repeated chords at end.
[4]: tranquil row unfolds; various layers of sound; final row statement heard in bell-like tolling tones; hypnotic conclusion.

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

Schumannesque and Brahmsian qualities. Whimsical themes throughout. Intermezzo (the finest movement) contains some real surprises in its instrumental color. Eminently worth reviving.

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

Although this is a fairly earlt work(1878-9), it is a fine, impassioned piece, full of Romantic sensibility. Economy of musical material and ability to create a coherent whole are beautifully illustrated in this dramatic work. One of the three or four greatest works in the form; represents the epitome in musical expression of which the combination is capable.

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

Declamato - Scherzoso: piano has much chromatic staccato activity in unisons two octaves apart; leads to a broader (Solemne) section, where the piano is treated more legato and chordally (lirico); short accelerando moves into piu mosso before a Molto Allegro section juxtaposes long lones with short motivic ideas; cadenza for piano brings togather much of the material already exposited; Alla marcia section brings back the Declamato - Scherzo Material from the opening; a final accelerando brings the work to an exciting conclusion. The style is mainly linear with a transparent clarity, serially inspired, with free key centers lurking in the background. Fricker knows how to write idiomatically for instruments so that they sound their best.

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

Contains some fluent and beautiful writing, somewhat in a post-Brahms-Reger style. The second movement is highly eclectic with changes of mood and tempi.

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

Written in a heroic Brahms-like style.

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

One large sectionalized movement in post-Romantic style.

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

Allegro: flexible meters, serial, octotonic, trills; row is inventively treated. Andante con moto: more lyric, even in the Animato section; enfatico added-note chords are effective. Allegro giusto: sempre staccato style, alternating hands; leads directly to Andante: long piano introduction moves through a Molto vivace and picks up rest of instruments; chords in fourths and fifths lead to a 7/4 section, where the melodic idea is hammered out with arpeggiated accompanied chords; rhythmic pulsation increases to a subito Largamente coda that ends in A; pp. Clear textures.

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

Commissioned by the Sprague Foundation of the Library of Congress.
Freely tonal writing that is at some points very tonal. Generally clear lines, some imitation and parallelism, alternating hands, cross-relations, seventh chords, and use of the tritone combine to make this neoclassic work both accessible and exciting.

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

Tremolo, octotonic, linear, glissandi, neoclassic, hemiola. Low register of piano effectively exploited. Large span required.

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

Virtuoso post-Romantic writing that constantly keeps the pianist involved. Extension of idiomatic pianism in the Brahms tradition.

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

ヒナステラの曲には好きなものも少なくないので、期待して聴いてみたのだが、全くの不発。 無調で不協和音だらけなので、私には評価不能。冒頭から悲鳴のような和音で始まったので いきなり頭を抱えてしまったが、その後も聴いていて心地良かった部分は皆無であった。
　
曲は７楽章構成で、五重奏による４つの楽章の間に、ヴィオラとチェロの二重奏、 ヴァイオリンの二重奏、そしてピアノのソロという、いずれも無伴奏による３つの楽章が挟まれている ユニークな形態になっている。
　
Strong, freely chromatic, wide dynamic range, clusters, tremolo, alternating hands. The piano cadenza is ff and dramatic, with large percussive chords. Ppp figuration builds and leads (octotonically) to a large cluster that opens the Finale. Large span required.

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

Deploration sur la mort de Witold Lutoslawski is a homage written in 1994 following the death of this master of twentieth-century music. For the material for this funeral music the composer took the following; a quotation of the first three notes (G,G,A flat) from Lutoslawski's String Quartet, the rhythmical and melodic contour of the introductory section of the same composer's Funaral Music in memoriam Bela Bartok, with the actual notes transformed into diatonic (phrygian mode) form, an allusion to the "death motif" from Godar's Ricercar and a quotation from Lutoslawski's beloved Chopin Mazurka op.30 No.1 (pianoforte lontano).

(from booklet notes of SLOVART/SR-0018-2-131)

One large movement with varied tempi and moods. Dramatic and flamboyant writing with chronatic octaves and figuration most consistently used.

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

[1]: Sonata-Allegro; marcato unison opening; chromatic thirds; arpeggi; much statement and answer between piano and strings.
[2]: chordal opening in piano while the violin has rhythmic figure, piano then takes this figure; undulating thirds and sixths.
[3]: vigorous rhythmical figures alternate with more langorous idea from second movement.

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

[1]: Sonata-Allegro; austere and virile; short exposition is almost exclusively based on an intense development of the main subject from an initial motif; second subject, grotesque and full of restrained sarcasm, is stated polyphonically; abrupt and startling contrasts appear in the development; simple textures with scales in parallel and contrary motion.
[2]: scherzo-like, simple timbres; based on a native marchlike theme that, in further development, leads to combinations of weird, uncanny sonorities.
[3]: warmly lyric; a cantabile theme flows like a calm narrative.
[4]: rondo; toccata-like; full of energy; themes pursue one another in an irresistible torrent.
　
Colorful writing in a mildly contemporary idiom.

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