Recently Published Chamber Music

Though not the founder of Lithuanian music, nonetheless JURGIS KARNAVICIUS (1884-1941) was the first Lithuanian composer to write a string quartet. His STRING QUARTET NO.2 IN D MINOR followed four years after his first quartet. Unlike his first quartet which clearly showed the influence of his Russian musical education under Rimsky Korsakov and Glazunov, this quartet finds him combining elements of Impressionism often in a late Romantic era style, creating a very original and interesting effects. One can hear echoes of Lithuanian folk music combined in a very modernistic way. There is good melodic and part-writing throughout, which makes it a good candidate for the concert hall.	Although his compositions were admired and praised by Gustav Mahler and Richard Strauss as well as many other critics, the music of HANS PFITZNER (1869-1949, except for one opera, never achieved the popularity or status he wished for and all but disappeared when Hitler came to power even though he was not Jewish. Pfitzner was an opponent of atonalism and the Second Vienna School and this also placed him as out of touch with his contemporaries. His SEXTET FOR CLARINET, VIOLIN, VIOLA, CELLO & PIANO in no way sounds like the work of an old man in his late 70s who was sick and blind. Genial and upbeat, Pfitzner produced a very appealing chamber music masterpiece just a few years before he passed away. It is a late Romantic era gem which does not sound like it was composed in 1945. This Sextet belongs in the concert hall and with its straight forward thematic material can be recommended to amateurs.
While it is the fate of most to vanish after death without a trace, except perhaps for a gravestone, one would think that it would be less likely for a composer of a charming piano trio to also disappear in this fashion. But this appearently is what has happened to FRIEDRICH WILHELM GRÜNBAUM. Despite long hours of research we could find nothing about him, all the more frustrating as he composed a very charming PIANO TRIO IN B FLAT MAJOR. This is a mid 19th century Romantic era work aimed specifically at amateurs looking for a piece to present in concert.	It is not infrequent to hear from those who have not taken the time to investigate, that no one was composing works which could rival those of Haydn. But, of course, this is not true. One prominent example which disproves this idea is the music of the German composer JOSEPH SCHMITT (1734-1791) who became the leading figure in Dutch musical life during the last part of the 18th century. Like Haydn before he changed his style from the Sturm und Drang, Schmitt's music exhibits the same qualities. His SIX STRING TRIOS from the late 1770s are the equal to those which Haydn was composing at the same time. The melodies are appealing and the part-writing quite good. An excellent choice for concert or home.
One has to wonder why it is that today the name of FRANZ KROMMER (1759-1831) is not mentioned in the same breath as Haydn and Mozart, because in his time it was. He was almost universally considered the worthy successor to Haydn who had stopped composing around 1800. Krommer's quartets and quintets were regularly programmed throughout Europe and went through several editions. He was a favorite of the Austrian emperor who played quartets with him for many years. His STRING QUARTET IN G MAJOR composed in the first decade of the 1800s is an exciting work which makes a excellent concert hall choice and which is certain to bring bravos from the audiences who hear it.	When it comes to naming Finnish composers, most music lovers can come up with the name of Sibelius and no one else, and few know of his chamber music. Perhaps one or two cognoscente have heard of Erkki Melartin, whose music is every bit as good as that of Sibelius. But virtually no one has ever heard of ERIK FURUHJELM (1883-1964). A generation younger than Sibelius and Melartin, he studied with the same teachers that they did and was, during his lifetime, an important musical personality at least in Finland, serving as director of the Helsinki Conservatorfy for many years. While not a prolific composer, he did write in most genres including chamber music.His massive PIANO QUINTET IN C MINOR is a towering work in the late Romantic style. This powerful Brahmsian quintet is sure to make a very strong impression on audiences who get a chance to hear this very fine work. Can be managed by amateurs who have a first rate pianist.
ERMEND BONNAL (1880-1944) studied with some of the finest teachers on offer at the Paris Conservatory: composition with Gabriel Faure, piano with C.W. de Beriot, and organ with Louis Vierne. He became a top-notch organist, but this did not stop him from composing in all different genres, including chamber music writing string quartets and a trio. At the request of two of his friends, amateur musicians, he composed a very emotive work, his PETIT POEME FOR VIOLIN, VIOLA AND PIANO. A good choice for concert where a shorter work is required and also good for amateurs.	The Italian composer and vioinist ALFREDO d'AMBROSIO (1871-1914), though he could easily have pursued a career as a touring violins soloist, decided instead to primarily devote himself to composing and teaching. Though born and intially educated in Italy, he chose to live the bulk of his life in Nice and Paris. His short, lovely tone poem RÊVE FOR 2 VIOLINS, VIOLA, CELLO AND BASS is a work for a salon audience. It showcases his fine gift for melodic writing as well as his ability to get the best from each voice. It makes an excellent encore but is long enough to be used where a shorter program work is required. After hearing it performed, audiences are certain to show their appreciation for having had the chance to hear such lovely music. It is not at all hard to play and therefore can also be warmly recommended to amateurs.
You can be forgiven if the name JAN BAPTYSTA KLECZYNSKI (1756-1828) does not ring a bell, although during his lifetime he was certainly well-known to Haydn, Mozart, Beethoven, Krommer, Wranitzky, Gyrowetz and other prominent composers then active in Vienna. It is fair to say he was a man of parts. Of Polish ethnicity, he was born in the Czech part of the Austrian Empire. He studied violin and composition in Poland and spent the better part of his life in Vienna, working as a violinist in various orchestras and as a theater director. He was not a prolific composer, but what he did produce shows that he was talented and a full-fledged member of the Vienna Classical School of composition. His STRING TRIO NO.4 IN E FLAT MAJOR, was well enough thought of to be published simultaneously both in Vienna and Germany. It is well crafted with grateful parts for each voice. A good choice for both concert performance as well as amateurs	ATTENTION VIOLINISTS, VIOLISTS AND CELLISTS: Mel Bonis, Louise Farrenc, Laura Netzel, Mathilde Kralik, Lusie Adolpha Le Beaui, Rebecca Clark, Dora Pejacivic, Kathleen Rogers, Ethel Smyth, Amanda Maier, Emilie Mayer, Johanna Muller-Hermann, Pauline Viardot, Agnes Zimmerman, Laura Netzel and Amy Beach---these are the names of but a few of the many fine women composers whose works we are proud to offer. And now for a limited time only THE SONATAS AND SHORTER INSTRUMENTAL WORKS FOR VIOLIN, VIOLA AND CELLO OF EVERY WOMAN COMPOSER WE OFFER ARE 50% OFF. Don't miss this opportunity to add to your libraries. There are many fine recital pieces waiting for you to discover. Why not visit our works by women composers page: https://www.editionsilvertrust.com/women-composers.htm where you can explore and listen to the works on offer.