Velvet Quintet
《 ピアノ五重奏曲のページ (T-Z)

タネイエフ Taneyev, Sergey Ivanovich (1856-1915, Russia)
 Quintuor g-moll op.30 (1911)
  [1] Introduzione: Adagio mesto - Allegro patetico
  [2] Scherzo: Presto - Moderato teneramente
  [3] Largo
  [4] Finale: Allegro vivace
   CD:Vanguard(Netherlands) (No.)99117 [S.Schja(Pf), C.Bor(Vn), P.Rosenthal(Vn), R.Moog(Va), N.Rosen(Vc)]
       [1] 18'24" [2] 6'13" [3] 8'53" [4] 9'22" [Total] 42'52"
   楽譜(演奏譜):Editions Russe du Musique
Utilizes strong ninteenth-century virtuoso techniques and idioms.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

トゥイレ Thuille, Ludwig (1861-1907, Austria)
 Quintett g-moll (1880)
  [1] Allegro maestoso
  [2] Larghetto
  [3] Finale: Presto ma non troppo
   CD:ASV(England) (No.)CD DCA 1171 [T.Lev(Pf), Falk Quartet]
       [1] 9'38" [2] 8'05" [3] 5'36" [Total] 23'19"

トゥイレ Thuille, Ludwig (1861-1907, Austria)
 Quintett Es-dur op.20 (1901)
  [1] Allegro con brio
  [2] Adaio assai
  [3] Allero
  [4] Finale: Allegro risoluto
   CD:Telos(Switherland) (No.)TLS 054 [B.Fograscher(Pf), I.Turban, C.Schichedanz(Vn), J.Krist(Va), W.-S.Yan(Vc)]
       [1] 11'51" [2] 15'49" [3] 6'37" [4] 8'07" [Total] 42'24"

チェレプニン Tcherepnin, Alexander (Nikolayevich) (1899-1977, Russia/France/USA)
 Quintette op.44 (1927)
  [1] Allegro
  [2] Allegretto
  [3] Allegro
   楽譜(演奏譜):(Universal Edition)
[1]: Sonata-Allegro
[2]: ABA
[3]: Rondo
Written in a complex poltphonic style with a slightly Russian flavor. The Allegretto employs the composer's "interpoint" technique, in which vertical and horizontal elements are equal. The final Allegro is based on one theme that is treated contrapuntally. Highly chromatic. This piece is perhaps the culmination of Tcherepnin's chamber music.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

トッホ Toch, Ernst (1887-1964, USA)
 Quintet op.64 (1938)
  [1] The Lyrical Part
  [2] The Whimsical Part
  [3] The Contemplative Part
  [3] The Dramatic Part
[1]: bold lines.
[2]: ABA, antiphonal, muted strings.
[3]: ABA; strings alone in part A, piano alone in B; strings return; coda brings all togather.
[4]: more writing for all five instruments, contrapuntal.
Programmatic titles, Romantic tendencies in an overall neoclassic style. Lines and textures are generally clear and operate within freely tonal bounds. Strings are combined as one voice, the piano as another.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

トゥリーナ Turina, Joaquin (1882-1949, Spain)
 Piano Quintet g-moll op.1 (1907)
  [1] Fugue lente
  [2] Anime
  [3] Andante scherzando
  [4] Finale
   CD:Claves Records(Switzerland) (No.)CD50-9403 [Menuhin Festival Piano Quartet, C.Busch(Vn)]
       [1] 7'38" [2] 8'14" [3] 6'08" [4] 5'54" [Total] 27'54"
   楽譜(演奏譜):Rouart Lerolle, (Salabert)
作品1ということで、その後のトゥリーナを彷彿とさせるスペイン的な色合いは、 まだほとんど見られない。その分、前半の2楽章などは、ロマン派の作品を思わせるような 堂々とした仕上がりになっていて、とてもじっくりとした聴き応えのある内容。 だがその一方で、後半の2楽章は、少々推進力に欠けるように思われ、このへんで処女作の 拙さが少し顔を出してしまったか。でも全般的には、良くまとまっているように思う。  
[1]: piano embellishes fugue with full but pp sonorities; fugue is treated freely; broken-chord figuration; subject heard at end of movement.
[2]: march-like, strong rhythmic emphasis, fast harmonic rhythm.
[3]: flowing; chromatic, undulating dolcissimo and cantaile; short figures evolve into longer ones; octotonic; moves through various keys.
[4]: recitative opening, sustained syncopated chords, Lento coda and fff ending.
Does not sound like the later Turina that pianists know; a transitional work.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

トゥリーナ Turina, Joaquin (1882-1949, Spain)
 Las Musas de Andalucia op.93 (1942)
  [1] "Clio" (A las puertas de la Rabida) (Piano solo)
  [2] "Euterpe" (En plena fiesta) (Violin, Piano)
  [3] "Talia" (Naranjos y Olivos) (String Quartet)
  [4] "Polimnia" (Nocturno) (Violoncello, Piano)
  [5] "Melpomene" (Reflejos) (Soprano, Piano)
  [6] "Erato" (Trovos y Saetas) (Soprano, String Quartet)
  [7] "Urania" (Farruca fugada) (Piano solo)
  [8] "Terpsicore" (Minue) (Piano solo)
  [9] "Caliope" (Himno) (Piano, String Quartet)
   CD1:Claves Records(Switzerland) (No.)CD50-9320 [R.Requejo(Pf), M.Bayo(Sop), Quartet Sine Nomine]
        [1] 4'13" [2] 3'42" [3] 2'33" [4] 4'12" [5] 3'41"
        [6] 3'49" [7] 3'49" [8] 3'29" [9] 4'04" [Total] 31'32"
   CD2:CPO(Gernamy) (No.)999-609-2 [Ensemble Variable]
        [9](only) 4'22"
   楽譜(演奏譜):Union Musical Ediciones S.L. (Madrid) UME17566〜UME17574
Las Musas de Andalucia, op.93, composed between April and October 1942, is a nine-part series of chamber music exhibits direct impressionistic influences. Turina clothed the Greek Muses in the colorful melodies and timbres of his native Andalusia while avoiding specifically antique of Hellenistic elements. The delicate clarity of the refined sonorities can be described as Mediterranean; the atmosphere, however, is completely Iberian. The diversity of colors and forms is hypnotizing; the cycle commences with a dark piano solo dedicated to the Muse of history (Clio) whose isolated, impressionistic sonorities approach polytonality; the homage to the Muse of astronomy (Urania) is a fugal Farruca with massive chord concentrations and passionate outbursts; the solemn dialogue between piano and string quartet filled with imposing parallel chords is a monument in honor of the Muse of epic and heroic poety (caliope).
(from booklet notes of Claves/CD50-9320)
Caliope is the last piece from Turina's Las Musas de Andalucia op.93, a late cycle from 1942. The nine pieces bearing the names of the mythological patronesses of the arts and sciences depict the beauty of the landscape and the festive spirit of the composer's native land. The general appeal of the work rests on its various forms and rhythms and above all on its varied instrumentation, which represents a unique combination: piano solo, violin / cello or soprano and piano, string quartet alone / with soprano or piano. Caliope (Greek = beautiful vioce), the muse of heroic poetry, supplied Turina with the name for a "himno", a sort of instrumental antiphony with the string quartet and piano in alternation. The hymnic expression is brought about by the homophonic elegiac melodies. They convey Spanish color with the first violin in the lead and reminiscences of Debussy in the chord parallels in the piano part ("solemne y serenamente expresivo").
(from booklet notes of CPO/999-609-2)

Vainberg, Mieczyslaw (1919-1996, Poland/USSR)
    ( Vainberg, Moishei | Vainberg, Moysey Samuil | Weinberg, Moisei )
 Quintet op.18 (1944)
  [1] Moderato con moto
  [2] Allegretto
  [3] Presto
  [4] Largo
  [5] Allegro agitato
   CD:OLYMPIA (No.)OCD474 [M.Vainberg(composer,Pf), The Borodin String Quartet]
       [1] 7'26" [2] 5'52" [3] 5'10" [4] 12'52" [5] 8'18" [Total] 39'38"
   楽譜(演奏譜):Mezhdunarodnaya Kniga
ショスタコーヴィチの影響を色濃く感じる作品。ショスタコーヴィチの音楽に共感できる人ならば、 この曲もきっと気に入るだろう。楽章構成も、ショスタコーヴィチの五重奏曲と同じ5楽章構成だが、 中でも第3楽章には同じようにスケルツォの楽章が置かれており、シニカルで少々調子っ外れな所などが特にソックリで、 聴いていて思わずニンマリしてしまう。

[1]: Sonata-Allegro, Slavic theme for main idea, second theme animated and whimsical; develops naturally and effectlessly; closes with first theme diminuendo.
[2]: in the nature of an intermezzo; piano has cadenza; ppp closing.
[3]: scherzo with an irresistible drive.
[4]: stirringly lyric and profoundly meditative; piano performs solo.
[5]: fleeting and dynamic; based on the alternation of an austere ostinato theme and a gentle, lyrical one; at the climax (figure 142) the opening theme of the first movement is heard and serves to unify the cyclic work into an integrated whole; the progress of the finale resumes, but the music seems calmer, less impetuous, and the ostinato gradually melts away.  
Post-Romantic Russian style, mildly contemporary, chromatic, and tonal.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ヴィエルヌ Vierne, Louis (1870-1937, France)
 Quintette c-moll op.42 (1918)
  [1] Poco lento - Moderato
  [2] Larghetto sostenuto
  [3] Maestoso - Allegro molto risoluto
   CD:ワーナーミージック(Japan) (No.)WPCS-4635/6 [J.Hubeau(Pf), Quatuor Viotti]
       [1] 10'26" [2] 11'34" [3] 9'30" [Total] 31'30"
Chromatic, many octaves, many triplets, arpeggi figuration. This work looks more impressive on the page than it sounds, although there are some lovely spots.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ヴィンセント Vincent, John (1902-1977, USA)
  [1] Allegro con brio
  [2] Andante
  [3] Allegro vivo
Bitonal, secco bass, shifting rhythms, scalar passages, driving rhythms, flowing melody in Andante, repeated octaves in alternating hands, dancelike rhythms. Attactive, mildly contemporary.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ウェーベルン Webern, Anton (Friedrich Wilhelm von) (1883-1945, Austria)
 Quintet C-dur (1907)
   CD:MDG(Germany) (No.)307 0589-2 [F.Zichner(Pf), Neues Leipziger Streichquartett]
       [1=total] 11'30"
 1902年ウィーン大学に入学して音楽学を学んでいたヴェーベルンは、1904年から08年には、シェーンベルクに作曲を学んでいた。 同門にはベルクやシュタインらがいる。1908年には作品番号の付いた最初の作品《パッサカリア》が作られたが、 それ以前の1903年から07年に、彼は少なくとも22曲の作曲を手がけている。作品番号なしの諸作は、一括して習作と見なされているが、 シェーンベルクの影響はもちろんのこと、ブラームス、R.シュトラウス、レーガーからの影響も少なからず受けている。
 この1楽章形式のピアノ五重奏曲は、1907年春、ウィーンで作曲されたもので、ヴェーベルン以前のヴェーベルンを知る上で貴重な資料となろう。 おそらく当初は、もっと大きな作品の1楽章と考えられていたと思われる。構造は伝統的なソナタ−アレグロ形式に従っている。 この作品は、因襲的響きをこわそうとする意欲は比較的少なく、ハ長調で始まりハ長調で終わってはいるものの、調性は極限にまで拡大されている。 また表現の質がブラームスのピアノ三重奏曲作品8や、シェーンベルクの弦楽四重奏曲第1番、室内交響曲第1番に似ていなくもないが、 特殊な弦楽器の奏法(トレモロ・スル・ポンティチェロ)などによって、すでに彼独特の音色が得られていることも見のがせない。 この奏法の効果は、展開部の開始と終わりに使われているが、響きの薄気味悪さという点で、 少し後の弦楽四重奏のための5つの楽章作品5の前兆ともなっている。
 初演は1907年11月7日、ウィーンで、シェーンベルク門下の8人の作品演奏会の際におこなわれた。 作品の評判はきわめて良かったが、第二次大戦によって出版が遅れ、1953年、未亡人がヴェーベルンの遺志をひきついで、 ベルケ・ボマート社からの出版を許可したのである。
(from booklet notes of POLYDOR(Japan)/F35G 50390)

Composed immediately before Op.1 and not included by Webern in his own catalogue of works. A one-movement form in Sonata-Allegro design. Strong early Schonberg influence. Principal groups in C with subordinate group around the dominant! Themes include most of the twelve tones; series-like. The harmony is mainly tradic. Piano style is Brahmsian with octave doublings, thick chords, and subtle rhythmic shifts, but a few spots of thin textures and widely spread skips suggest future Webernesque techniques. A lyric work that would work well for groups not yet prepared to undertake later Webern.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ヴィドール Widor, Charles-Marie(-Jean-Albert) (1844-1937, France)
 Quintet Nr.1 d-moll op.7 (1871)
  [1] Allegro
  [2] Andante
  [3] Molto vivace
  [4] Allegro con moto
   CD:Marco Polo(Germany) (No.)8.223193 [I.Prunyi(Pf), New Budapest Quartet]
       [1] 9'25" [2] 9'24" [3] 3'57" [4] 6'26" [Total] 29'12"
どの楽章も良くまとまっていて、健康的で楽しい曲想に溢れている。 特筆すべきは、夢見るような美しさの第2楽章。これぞまさしく至福の時。 この楽章のためだけにでも聴く価値ありだが、全体としてもしっかりと完成された作品である。
余談であるが、上記CDにカップリングされているピアノ三重奏曲が、これまた素晴らしい。 五重奏曲同様、緩徐楽章の第2楽章がこの上なく甘く美しく必聴モノである。

ヴィドール Widor, Charles-Marie(-Jean-Albert) (1844-1937, France)
 Quintet Nr.3 op.68 (1896)
  [1] Moderato - Allegro
  [2] Andante
  [3] Allegro con fuoco
  [4] Moderato
   CD:Societe Nouvelle(Canada) (No.)SNE-610 [A.Globenski(Pf), Quatuor Laval]
       [1] 9'47" [2] 6'58" [3] 4'59" [4] 8'08" [Total] 29'52"

ウィリアムソン Williamson, Malcolm (Benjamin Graham Christopher) (1931- , Australia)
 Quintet (1968)
  [1] Adagio
  [2] Allegro molto
  [3] Adagio
  [4] Moderato
   CD:Societe Nouvelle(Canada) (No.)SNE-610 [A.Globenski(Pf), Quatuor Laval]
       [1] 9'47" [2] 6'58" [3] 4'59" [4] 8'08" [Total] 29'52"
[1]: chordal for piano, individual lines in other parts.
[2]: pointillistic, trills, extreme ranges exploited, large span required.
[3]: similar to opening Adagio but more developed.
Dissonant, large formal blocks of organized material, harmonics, clusters, fluent and pianistic style. Writing is easy to follow with the ear.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ウォルフ=フェラーリ Wolf-Ferrari, Ermanno (1876-1948, Italy)
 Piano Quintet Des-dur op.6 (1900)
  [1] Tranquillo ed espressivo
  [2] Canzone, Adagio
  [3] Capriccio, Lo stesso tempo della Canzone - Gagliardo e vivace assai
  [4] Finale, Sostenuto molto - Allegro moderato
   CD:Dynamic(Italy) (No.)CDS54 [Ex Novo Ensemble]
       [1] 9'08" [2] 6'32" [3] 8'34" [4] 10'02" [Total] 34'16"
時折甘ったるい旋律がくすぐるが、格別印象的なものではない。アンサンブルの構造も 単純で、演奏する上でもあまり面白味は無さそう。今ひとつ訴えるものに欠ける作品。

ライト Wright, Margot (1911-2000, England)
 Piano Quintet d-moll
  [1] Molto moderato e Grave - Allegro
  [2] Adagio mesto
  [3] Vivace
   CD:Dutton(Austria) (No.)CDLX 7109 [F.Mol(Pf), Camilli String Quartet]
       [1] 9'04" [2] 5'34" [3] 5'43" [Total] 20'21"

ウォリネン Wuorinen, Charles (1938- , USA)
 Piano Quintet (1994)
  [1] (untitled; quarter note = 60-64)
  [2] (untitled; quarter note = 48-52)
  [3] Intermezzo (quarter note = 120-128)
  [4] (untitled; quarter note = 160)
   CD:Koch International(USA) (No.)3-7410-2H1 [U.Oppens(Pf), C.Macomber, C.Zori(Vn), S.St.Jphn(Va), F.Sherry(Vc)]
       [1] 6'44" [2] 9'59" [3] 3'28" [4] 4'17" [Total] 24'28"
   楽譜(演奏譜):C.F.Peters Corporation (BMI)

クセナキス Xenakis, Iannis (1922- , Romania)
 Akea (1986)
   CD:BVHAAST (Netherlands) (No.)CD9219 [G.D.Madge(Pf), Xenakis Quartet]
       [1]=[Total] 11'30"

山田耕筰 Yamada, Kosaku (1886-1965, Japan)
 Piano Quintet "Hochzeitsklange"(婚姻の響き) C-dur (1913)
   CD:ミッテンヴァルド(日本) (No.)MTWD 99003 [K.Ida(Pf), Yamato String Quartet]
       [1]=[Total] 9'30"
 ピアノ五重奏曲「婚姻の響き」ハ長調は、多(おおの)クァルテットのメンバーでもあった親友の多の結婚を祝って書かれた作品で、 新郎の多久寅のヒサ(一三)を第一音=ド、第三音=ミに、新婦のフク(二九)を第二音=レ、第九音=レの音程を組み合わせたものを モティーフにしたカリカチュアであると、作曲者は語っている。
 この曲には、留学前の作品とくらべても格段の進歩の跡が見られ、耕筰がベルリンで修得した堅実な作曲技術の成果が、 明確なかたちで現れている。
(from booklet notes of MITTENWALD(Japan)/MTWD 99003)

ツァレブスキ Zarebski, Jukiusz (1854-1885, Poland)
 Quintette g-moll op.34 (1885)
  [1] Allegro
  [2] Adagio
  [3] Scherzo: Presto
  [4] Finale: Presto
   CD:Accord(France) (No.)201332 [S.Esztenyi(Pf), Quatuor Wilanow]
       [1] 10'00" [2] 12'44" [3] 5'50" [4] 9'00" [Total] 37'34"
   楽譜(演奏譜):Polskie Wydawnictwo Muzyczne

ジルヒャー Zilcher, Hermann (1881-1948, Germany)
 Klavierquintett cis-moll op.42 (1918)
  [1] Leidenschaftlich bewegt
  [2] Langsam bewegt, ausdrucksvoll
  [3] Frei im Zeitmass, fliessend, sehr bewegt
   CD:LARGO(Germany) (No.)5144 [C.-H. Marz(Pf), Nicolay Quartett]
       [1] 15'24" [2] 8'48" [3] 11'42" [Total] 37'54"
   楽譜(演奏譜):Breitkopf Harter

ジュワフスキ Zulawski, Wawrzyniec (Jerzy) (1918-1957, Poland)
 Kwintet Fortepianowy (1943)
  [1] Andante - Agitato
  [2] Allegro vivace
  [3] Andante molto tranquillo
  [4] Allegro moderato
   楽譜(演奏譜):Polskie Wydawnictwo Muzyczne
[1]: quiet chromatic opening leads to a short piano cadenza, which leads to an Agitato; these tempi are juxtaposed against each other throuhhout the movement.
[2]: a scherzo, chromatic chords and figuration, octotonic.
[3]: added-note chords, large climax a la Szymanowski, Lento pp close.
[4]: tremolo, fast harmonic rhythm, broken left-hand figuration under right-hand octave melody, Allegretto episodes, pp closing, freely tonal around C.
("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ピアノ五重奏曲紹介の目次へ  (A-C)  (D-G)  (H-N)  (O-S)