LUDWIG THUILLE: Piano Quintets in E flat Major Op. 20 and G minor; Sextet for Piano and Wind Quintet B flat Major; Trio for Violin, Viola and Piano E flat Major – 1) The Falk Quartet with Tomer Lev, piano; 2) London Conchord Ensemble members – Champs Hill Records CHRCD001 & 002 (2 CDs) [Distr. by Naxos] *****:
This double-disc set brought both a record label and a composer new to my ears. Thuille, who lived until 1907, was from the Tyrol and a close friend on and off of Richard Strauss. He was a pupil of Rheinberger and as a pedagogue among his own students were Ernest Bloch and Hermann Abendroth. He was a prolific though rather conservative composer and for a time was known for his operas. However, his small fame now lies mainly with his chamber music, as well as a piano concerto and a symphony. His book on harmony was a standard for many years and constitutes his standing in some musical circles.
All four of these chamber works are absolutely gorgeous, full of lovely melody and an almost ecstatic beauty. Thuille’s influences in the Sextet may recall Brahms or even Wagner at various points. There aren’t many good works for wind quintet and piano, and this one should be heard much more frequently. The French horn is very predominant, as it is in much of Richard Strauss’ music. The piano is also given an important role that sometimes expands to almost piano concerto proportions. The Larghetto second movement of the four is especially lovely, with an autumnal sort of sound that reminds one of Brahms. The Vivace finale is a speedy summing-up of the sextet, with already-heard thematic material going from instrument to instrument, and with a good humor thruout.
In the more conservative Trio one may hear influences of Borodin or Franck. Though it has some passages suffused with sorrow, the prevailing mood – especially by the fourth movement finale – is one of joy and good feeling. The two Piano Quintets were composed 21 years apart, the G minor being the early one, dating from 1880. It has a cyclic design in its three short movements, with a prayer-like central slow movement sounding like Brahms. The 1901 Piano Quintet Op. 20 is regarded as the best-known of all of Thuille’s chamber works. Almost 45 minutes in length, it balances a rather traditional approach with plenty of post-Wagnerian chromaticism. Thruout the four-movement work one hears influences of a Richard Strauss-like waltz feeling. The Adagio second movement begins with a chorale-like passage which may remind listeners of Bruckner, as it builds to a massive architectural central climax. The finale brings together some of the previous themes in a hymn-like setting, similar to many of Thuille’s works of this period.
The performances on both CDs are first rate, as are the sonics. This is one of the most enjoyable chamber music collections I have heard in years.
– John Sunier
