An analogue that exploits the restrained sound of the string quartet with the piano. Concertrated and complex writing.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
第１楽章はとにかく凄い迫力でガンガン押しまくります。これだけ快調に弾きまくれれば快感かも。 第２楽章は叙情的で歌心に溢れた曲。ラストの盛り上がりは情熱的で説得力がある。 第３楽章は民謡風の調性による妖しい旋律を持つ切迫感のある曲想だが、前の２つの楽章に比べると魅力的にはやや劣る。
Linear, freely tonal, ostinato figures, harmonic seconds and fourths used in secco style, trills used extensively in final movement, tremolo, basically neoclassic style.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
This entire work focuses mainly on rhythmic and metrical materials. Brackets are used to denote rhythmical groupings that depart from the normal meter. Highly saturated with rich dissonance. A cyclic theme appears in all movements. This work is consistent in style and substance and shows a highly developed craft. The Phrygian pastoral theme in the Aria is especially effective. Strong organic unity.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
In one long, compactly organized movement but with frequent tempo and character changes. Economic style is austere, rhythmically vigorous, and contrapuntal. Piano textures are sparse and generally clear. Freely dissonant with some polytonal moments, yet the piece is tonally integrated.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
筆者がこれまでに聴いたあらゆる室内楽曲中で、最も精神性の深さを感じたもの。 曲が始まるや否や、聴く者に全神経を集中させ、体の微動すら許さず一心に傾倒させてしまうだけの底知れない力を持った作品。 ＢＧＭとして聴くのが全く不可な曲である。
(T.Yanaka)
参考までに、書籍「クヮルテットのたのしみ」(※)でのこの曲に対するコメントを掲載する。
『大変価値あるクィンテットは、フィッツナーのものである。しかしこの曲は残念ながら大変に難しい。 この作品の中に彼は、彼の他の室内楽曲のどれよりも強烈に自分の主張を述べている。 作曲者の真の精神を充分認識して、この道にわけ入るために、プレイヤーは並々ならぬエネルギーを必要とし、 またプレイヤーをそこまで叩きあげ、引きあげるようにこの作品はできている。』
(※)エルンスト・ハイメラン、ブルーノ・アウリッヒ共著 中野吉郎訳 アカデミア・ミュージック出版
ワーグナーやシューマン、R.シュトラウスの強い影響が感じられるこの作品は、 とことんロマン的、ドイツ的で、多少くどすぎる感もある。とくにピアノパートが絢爛豪華に書かれている。 おおらかなリリシズムと半音階の織りなす豊かなハーモニーに満ちているが、 主題の展開には不協和音が使われ、複雑かつ斬新なリズムが聴かれる。
Strong influences of Wagner, Schumann, and Richard Strauss are felt in this work. It is Romantic and Germanic through and through, and seems somewhat overblown today, but is superbly written for the pianist. Full of expansive lyricism and rich chromatic harmonies, the thematic transformations involve dissonant counterpoint and unconventional rhythmic intricacies.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Repeated chords, some shifting meters in the second movement, broad pianistic gestures, parallel chords, chromatic.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
[1]: poetic; neo-Romantic mood; flowing harmonic figurations; main idea juxaposed against this backdrop; more tension in the mid-section which uses fourths and fifths, tonality is G.
[2]: light; dissonant harmonies over pedal point; bold dissonance of consecutive sevenths; pp to ff and back to pp.
[3]: ABA; a Pistonian dance with a quasi-contrapuntal B section; opens with a tricky rhythmic figue; the A section has a coda in G and drops the third in the final chord.
Highly crafted writing with tasteful elegance.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Piston's Quintet for Piano and Strings dates from 1949 and was commissioned by the University of Michigan. It was first performed by the Stanley Quartet, the violinists Gilbert Ross and Emil Raab, violist Paul Doktor and cellist Oliver Edel, and the pianist Joseph Brinkman, to whom the work is dedicated. The Quintet has, on more than one occasion, been compared with the music of Brahms; it is a full-bodied, romantic work, especially in the first movement (Allegro comodo) which consists of a delicate first theme in G minor and a sentimental second theme in D minor, not to memtion rich textures, abrupt changes of mood and distant key relationships. It is the bright G major finale which is arguably the work's best movement, with two robust themes, respectively Latin and folksy in flavour, clever contrapuntal transitions, and a 6/8 scherzo section integrated as an episode. If the influence of Brahms and, even more, Dvorak, is in plentiful evidence, this is not surprising, as the piano quintet is a specifically nineteenth-century medium and the traditional Piston would have naturally given consideration to the masterpieces of the genre. The Quintet won an initially favourable response from the press, and was described in 1968 by Otto Deri as 'one of his best chamber works'.
(from booklet notes of Naxos/8.559071)
[1]: varied tempi, shifting meters, short motifs, controlled improvisation.
[2]: piano tacet.
Presto Figurato: chromatic figures in alternating hands; chordal punctuation; Alla Stretta climax is capped with a glissando and quickly subsides to a Cantilena lento that contains much diaglogue between instruments and finally diminishes to a pp closing.
[3]: figuration (chromatic, octotonic) moves over keyboard; additive meters (3/8 + 2/4).
Entire work has serial overtones. Requires experiences performers.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
現代曲ではあるが、和声やリズムはさほど斬新なものではなく、聴きやすい。 祈るような第３楽章を除いて、概ね快調なテンポの音楽であり、ジャズ風の軽妙なタッチの部分が多いこともあってなかなか楽しめる。 特に第４楽章はジャズそのもの。
Impressionistic influences, clear traditional forms, bold and framatic gestures. Pianistic techniques are based on an extension of those used by Richard Strauss and Maurice Ravel. Mildly contemporary. Large span required.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
※オリジナルはクラリネット五重奏曲と思われる。
In Brahms-Reger tradition. Dramatic gestures for the piano.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Complicated harmonic system with great modulatory freedom. Shows a colossal craft. The pianist must constantly be moving from one complex situation to another. Slow movement is one of great beauty, in spite of its complexities.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
A noble four-movement work with the piano writing by far the most interesting. Written in the tradition of Brahms, Faure, and Elgar in a mildly contemporary but effective style. The first movement is tense and stringently constructed; the second is slightly more relaxed and beautiful. An enchanting (if somewhat helter-skelter at places) scherzo is followed by a lofty finale.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
[1]: octotonic, alternating hands, wide melodic skips, thin textures, large span required.
[2]: 3 with 2, sustained with repeated chords, dramatic gestures.
[3]: chordal punctuation; octotonic, repeated octaves; boisterous honky-tonk conclusion is unusual, even for Riegger.
All three movements show an imaginative adventurousness, spiced with rugged and percussive use of the piano. Free twelve-tone treatment in angilar style with strong contrast of mood and materials.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
楽譜を眺めた感じでは、切れ目のない単一楽章構成のようである。
Freely tonal with strong pianistic gestures, sequences, large skips. Generally successful ensemble writing throughout.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Opens with undulating thirds and octaves over widely spread triadic harmony in the left hand. Quartal and quintal harmony add a mildly contemporary flavor in parallel chordal passages. Flowing melodies, hand-crossings, rich sonorities through most of the work. A mid-section Allegro provides contrast. Big Romantic climax is reached, then subsides to a Lento ppp chordal close.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Overflowing with nineteenth-century pianistic cliches and idioms. The piano has the most interest, and at places the strings seem almost superfluous.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
[1]: opening theme is impatient; form is clearly clafted; tremolo; fluent triplet figuration.
[2]: a broad liturgical motif opens the movement; light arpeggi in the piano; a hint of the coming Presto is heard near the end of the movement.
[3]: strings engage in fugal acrobatics.
[4]: versatile pianistic patterns; brilliant scales in octaves round off work.
Light textures with the balance between severity and heavier textures carefully observed.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
The piano part is written for the left hand alone, for Paul Wittgenstein, but the work is also published in a version for two hands: made by Friedrich Wuhrer (Weinberger). Conservative and chromatic writing.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Tremolo chords, long lines accompanied by shorter chromatic figures, syncopated chords, large skips, brilliant passage work, chromatic octave runs, alternating hand figuration, long arpeggi. Requires four staves to notate piano part in some places. This work is a catalogue of pianistic techniques that were in general use at the time it was composed. Difficult and involved writing with some moments of great beauty.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
微分音が多用されていると思われ、全編に渡って終始濁ったままの弦楽器の和声がとにかく耳につく。 体調の良くないときに聴くと気分でも悪くなりそうだが、それを面白いと感じることもまた可能。 なお音程は前衛的だが、奏法については、特にイレギュラーなものは用いていない模様。
[1]: mainly a piano solo in which the strings double the piano part or fill in with isolated phrases.
[2]: combines different rhythms and is highly effective.
[3]: resorts to much doubling but the piano accompaniment provides a delightful substructure for malodic ideas provides by the strings.
[4]: opens with a unison melody in the pianno supported by repeated chords in the strings, a brilliant coda lets the pianist present the first subject from the opening movement in the right hand while the left hand and the second violin bring out the first subject of the Finale; all instruments agree on a joyous conclusion.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Traditional writing for all instruments, chromatic, chordal, with fluent figuration.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Full-blooded Romantic writing litered with octaves, broken-chord passages, and numerous other nineteenth-century pianistic cliches.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Freely tonal, centers around f#-F#. Post-Romantic vocabulary, well-integrated writing, clear forms.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
A spacious calm and strange desolation is found in much of this lyrical piece. Compelling framatic moments are contrasted with an austere repose. Limpid in texture, direct in appeal, and free from much of the bombast that mars numerous Soviet scores (including some of Shostakovich's). The Fugue is based on a traditional Russian song, while the Scherzo is one of the composer's happiest and most boisterous inventions. The Intermezzo has much diatonic serenity about it. The terse Finale is a blend of physical and spiritual energies, of lyricism and fleeting drama. The piano has some pure athletic lines that verge on the virtuosic.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
初期の作品であるが、鬱蒼とした作風はすでに健在。ただし円熟期以降にみられるような 冴えはさすがに無く、混沌とした中にも生命の息吹を感じるといったことがない。 全体的に緩慢とした流れのまま曲が進み、盛り上がりに欠ける構成。 しかも問い掛けたままで終ってしまうような結末で、中途半端な出来という印象である。
なお、この作品、第４楽章までは作曲年に初演されているが、第５楽章を含む完全な形での演奏は、 作曲者の生前には行われなかった。現在の出版譜は、一部、不明な人物による複製を根拠としている模様。
One movement, Modere: beats are indexed underneath the score (20/8); three staves necessary to notate the piano part. Highly chromatic with sweeping lines and fast-changing chords. Changing meters, harmonic fourths in flowing figuration, tremolo. Enormous climax suddenly drops to pp and ppp with indication "Enigmatique equivoque". Complex.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
優雅で穏やかで、古典的な形式に従って丹念にしっかり構成されている。 アンサンブルとしても、専らピアノまたはファーストヴァイオリンが目立つという古めの様式。 どの楽章も自然な旋律で聴きやすいが、しかし特別な印象も無く、 こじんまりとまとまった作品というところか。 その中で、安らかな旋律が織り成す第３楽章が、少し強めに心に残る。
[1]: light staccato chords; broken octaves; freely chromatic; arpeggi left hand; melody in thirds in right hand; opening mood closes movement.
[2]: lugubrious sustained chords; fast harmonic rhythm; agitato mid-section with alternationg hand passages; Molto lento climax; ppp closing.
[3]: march tempo; quick, repeated chords; curling chromatic figuration; intensity builds; tempi changes; thoroughly colorful writing with a brilliant conclusion; polyphonic.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
Rev. by Vlastimil Musil(1915).
This tonal but freely chromatic work utilizes a late nineteenth-century pianistic, harmonic, and melodic vocabulary.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)
[1]: E-dur; Sonata-Allegro; sweeping post-Romantic lines; chromatic; 2 with 3; hemiola; alternating hands.
[2]: C-dur; octotonic; strings frequently play alone; piano also frequently plays alone.
[3]: As-dur; Brahmsian pianism; syncopated closing in G leads directly to Finale.
[4]: E-dur; rondo; bright and cheeful; rhythmic sixteenth-note figuration; contrasted chordal episodes; hand-crossings; strong gestures in coda.
Lyrical Romantic writing throughout.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)