Sandro Blumenthal - Piano Quintet No. 2, Op. 4 (1899) скачать в хорошем качестве

Sandro Blumenthal - Piano Quintet No. 2, Op. 4 (1899)

Sandro Blumenthal (1874–1919) was an Italian/German pianist, violinist, violist, composer and cabaret singer amongst other things. Please support my channel: https://ko-fi.com/bartjebartmans Piano Quintet No. 1 in G major, Op. 4 (1899) Dedication: "A mio padre." 1. Adagio sostenuto - Allegretto deciso e con moto (0:00) 2. Andante cantabile assai sostenuto (9:36) 3. Scherzo. Velocissimo (15:15) 4. Finale. Allegretto quasi a piacere - Allegro assai vivace e brillante (21:04) Daniel Giglberger and Hélène Maréchaux, violin I & 2 Corinna Golomoz, viola Bridget MacRae, cello Olivier Triendl, piano A year after Piano Quintet No. 1 in D Major, created in 1898 and premiered at the end-of-semester concert, Blumenthal wrote the Piano Q in G Major in June of 1899. The advances the young composer had made in the meantime are evident, even if here, too, a true personal style going beyond the musical conventions of the times is hardly discernible. More than before, Blumenthal now relies on the independence of the voices and is striving more strongly for artistic elaboration instead of successful, but at times also dull effects. Already the slow introduction of the first movement, Adagio sostenuto , demonstrates this with its unconventional harmony. But it is also his treatment of the two themes in the following Allegretto deciso e con moto that indicate a more refined style: Particularly the first theme derived from the introduction – an upward sixth jump which is then led down in soft waves – first sounding in the piano, is being further adapted in various ways in a dialog between the viola (nachschlag sighs) and the second violin (upward movement) in the remarkably long transition to the second theme. The second movement, Andante cantabile assai sostenuto , with its two song-like themes is not entirely free of the crooning and the pathos generally associated with salon music. Especially the second theme is being consistently repeated, gaining in drama through the first violin rising to the highest heights. In the gruff and fierce Scherzo , Blumenthal once again shows his imaginative side with witty and irritating rhythmic finesse such as the change between 3/8 and 2/4 times. For the toned-down Trio , noticeably following classical models, he chose another rather rare key – G-flat Major –, which emphasizes the warm character of the piece. Almost like an improvised fantasy, the final movement begins with a slow Allegretto quasi a piacere introduction. Like in the first movement, the figure of the introduction delivers the material for the first dance-like g minor theme here, as well. The piano and the low strings join the theme one after the other, and as before, Blumenthal creates an overflowing transition to the second theme first introduced by the cello, which is again very cantabile. A nice idea indicates the end of the exposition: The beginnings of the previous movements are once more alluded to in reverse, as it were. The main theme of the first movement is only audible in outlines any more, but finally picks up speed again and leads back to the final movement, which in the end modulates to G Major, coming full circle to the beginning of the composition. The premier of this quintet marks the end of Blumenthal‘s student days, following which he began to get increasingly interested in a completely different and for Germany yet altogether novel, indeed avant-garde artistic movement: the cabaret. In the fall of 1901, he joined the “Elf Scharfrichter“ (“Eleven executioners“) ensemble, Munich‘s first “Brettlbühne“, as the cabaret is called in southern Germany, which had opened only six months prior and whose goal it was to radically renew the arts.