Ludwig Thuille (1861-1907)
Piano Quintets
Piano Quintet in E flat, Op. 20 (1901)
Piano Quintet in G minor (1880)
Tomer Lev, piano
Falk Quartet
Recorded in Music Room, Champs Hill,
Pulborough, Sussex, March 2002
Released February 2004
ASV DCA 1171 [65:17]
Summary: A Very Nice Disc
Best known as a professor of music theory and composition with a
well-received textbook on harmony, Ludwig Thuille wrote nearly 100 songs,
six operas, and a number of chamber works. This new ASV disc is the
sole recording in the catalogues devoted to his music, and I salute ASV
for giving us the opportunity to hear the creations of a minor master
of the late 19th century.
How to describe Thuille's Quintets? They are romantic and amiable, akin
to the sunny side of Brahms. However, they certainly do not lack for
tension or contrast. Thuille, even at the tender age of nineteen, has
a sure talent for architectural integrity, thematic continuity resulting
in a beautiful musical flow, and the spinning out of a continuous stream
of attractive melodies. Essentially, Thuille was a expert composer who
wrote highly attractive music that was not adventurous.
I am very impressed with the earlier three-movement Quintet in G minor
that excellently balances a low degree of angst with radiant optimism.
At a young age, Thuille clearly reveals a master's touch for melodic
fecundity and the natural progression of musical arguments. I must admit
that the piano part tends to be subservient to the strings, but Tomer
Lev gives a wonderful performance fully up to the exuberance and poignancy
in Thuille's work. We could say that the work is uncomplicated, but
that is surely a significant part of its charm - music that delights and
is easily identifiable to the listener. Specific pleasures are highlighted
by a gorgeous primary theme in the 2nd Movement Larghetto, and some
lightly applied demonic activity in the energized first section of the
3rd Movement. As I mentioned earlier, Thuille already displays total
expertise in balancing his spectrum of emotional content, and the outer
movements of the G minor represent vibrant proof of the fact.
Concerning the 4-movement Quintet in E flat, it is also romantic in
nature and not very adventurous. Thuille died at a fairly young age,
but there is no indication in the time span between the two programmed
quintets that he would have embraced anything more progressive than a
measured dip into late romanticism.
The Quintet in E flat is a more mature work than the G minor. Themes
are developed more extensively, and the emotional content has an element
of nostalgia tinged with remorse not found in the G minor. The 3rd
Movement Allegro is especially rewarding with its agitation and gypsy-like
rhythms in the first section set against a lovely central section exuding
warmth and sensuality.
Don's Conclusions: Exceptionally crafted music with a host of felicities.
The performances sound fine with plenty of exuberance when needed; the
Falk Quartet is particularly adept at highlighting the differences between
the two works. The group conveys the full measure of the sunshine
drenched and youthful G minor Quintet, while the increased angst of the
E flat Quintet is thoroughly mined. I have no qualms about the sound
other than the strings sounding a bit grainy at times.
This is the sole disc devoted to Thuille's music currently in the catalogs,
and he deserves greater exposure. I recommend the recording without
reservations and consider it an essential acquisition for chamber music
enthusiasts.
Don Satz
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