Presents
Max Bruch
Piano Quintet in g minor, Op.Post.-New Edition
Max Bruch (1838-1920) enjoyed a long and fruitful career as a composer, conductor and teacher. He studied with Ferdinand Hiller and his talent was recognized early on by Schumann and Ignaz Moscheles. Today, Bruch is primarily remembered for his fine violin concertos and his choral works. However, as the esteemed chamber music scholar Wilhelm Altmann notes, Bruch's chamber music is beautiful and deserving of performance.
Between 1877-1879, Bruch has made several visits to Liverpool where he served as a guest conductor of the Royal Liverpool Philharmonic Orchestra. His guest appearances were so successful that he was offered the position of Music Director and Chief Conductor of the orchestra in 1880. It was a position he held for three years. The Piano Quintet in g minor came about as the result of a commission from Andrew Kurtz, a wealthy owner of a chemical factory near Liverpool. Kurtz, whose father had emigrated from Germany, got to know Bruch during his time in Liverpool. A superb amateur pianist and enthusiastic chamber music player, Kurtz approached Bruch and asked him for a work that he could play with friends. Bruch decided upon a piano quintet and began work on it while in Liverpool. However, when Bruch left Liverpool in 1883 to take a position in Breslau, the work was not complete. Kurtz frequently wrote to Bruch anxiously asking when the Quintet would be finished. Finally in 1886 Bruch, who was still working in Breslau, sent Kurtz a copy of the manuscript, however, it only had the first three movements as Bruch has not completed the last movement. Kurtz had to wait two more years before he received the final movement.
The Piano Quintet was carefully written, especially with regard to the string parts, so as not to overtax Kurtz’s string player friends of whose abilities he was unsure. On the other hand, Bruch was well aware that Kurtz was an excellent pianist and the piano part reflects this. Though by no means virtuosic, it does require agile fingers. On the manuscript that Kurtz was sent, Bruch wrote at the beginning of the first movement, Allegro molto moderato, "Not too fast!". The strings are given a wistful chorale theme, marked tranquillo to which the piano answers s twice in response before a bold, faster subject is introduced. The two main themes are developed and reprised throughout the movement. In second place there is an Adagio in which the piano is given a brief introduction before the strings bring forth a very romantic and passionate melody. The third movement, Scherzo allegro molto, is quite energetic, a cross between the kind Mendelssohn liked to write and what Schumann often did as evidenced in his own piano quintet. A lyrical and song-like trio section provides a nice contrast. The Finale, Allegro agitato, is divided between two competing themes. The first has a triumphiant and heroic quality, while the second is slower and more relaxed.
We are indebted to Professor Georg Warneke of Berlin who kindly sent us a copy of Bruch's manuscript which resides in the Deutsche Staatsbibliothek (German State Library) in Berlin. Our edition was edited by Santo Neuenwelt with the help of Professor Warneke. This is an attractive work which deserves concert performance but which was designed to please good amateur players.
Parts: $39.95
