Diogenes Quartet and Andreas Kirpal: Friedrich Gernsheim Piano Quartet Nos 1 and 3

Piano Quartet No. 1 in E Flat Major Op. 6 (1860)

Performed by Diogenes Quartet and Andreas Kirpal.

I. Allegro Ma non Troppo - 00:00
II. Allegro Vivace - 10:34
III. Andante Con Moto - 16:59
IV. Allegro Con Brio - 25:19

Friedrich Gernsheim (1839-1916) is a composer whose music was held in the highest regard by critics during his lifetime. No less an authority than Wilhelm Altmann, perhaps the most influential chamber music critic of all time, has written that Gernsheim's chamber music is poetic and of a high intellectual content. But Gernsheim had two misfortunes, which led to his music not obtaining the reputation it might have. The first was to be born within a decade of Brahms. A misfortune because, in what is surely an extraordinary phenomenon, virtually every composer in the German-speaking countries born within a decade either side of Brahms were so eclipsed by him that their reputation and music all but disappeared when that era was over. Names such as Rheinberger, Reinecke, Kiel, Bruch, Dessoff, and Herzogenberg, among many others, come to mind. The second misfortune was that being Jewish, his music was officially banned during the Nazi era, which insured that it would fall into oblivion. It is only now, close to a century after his death that it is being rediscovered with great delight.

The First Piano Quartet dates from 1860. It was begun whilst he was in Paris and so impressed Ferdinand Hiller, director of the Cologne Conservatory, that he offered Gernsheim a position as a composition teacher there. Stylistically, an early work, it shows the Mendelssohnian influence of his Leipzig training but also of the melodic influence of Rossini. The first movement, Allegro ma non troppo, begins with a optimistic theme full of forward drive. The second theme has chorale-like quality. The extraordinarily fine second movement, Allegro vivace assai, though it starts quietly, quickly becomes is a whirlwind scherzo. This is followed by an Andante con moto, with its sweet and lovely main theme. It is in the first theme of the finale, Allegro con brio, that one hears the influence of Mendelssohn with its rhythmically driving first theme. This is followed up by a lovely second subject.


Piano Quartet No. 3 in F Major Op. 47 (1883)
Performed by the Diogenes Quartet and Andreas Kirpal.

I. Allegro Tranquillo - 00:00
II. Allegro Energico - 12:13
III. Andante Cantabile - 18:56
IV. Tema con Variazione - 28:30

Gernsheim's Third Piano Quartet was composed in 1883, during his long tenure as director of the Rotterdam Conservatory. It is perhaps not a coincidence that it bears the same opus number as Schumann's only piano quartet. And, it comes at a time when Gernsheim was greatly influenced by his friend Brahms. This work along with a few others earned Gernsheim the sobriquet of the 'Dutch Brahms'.

Although Piano Quartet No.3 does show the influence of Brahms it is in no way imitative. More than elsewhere, the big first movement, Allegro tranquillo, with its rhythmic phrases and dark tone color brings Brahms to mind. But where Brahms generally has the strings play as a group against the piano, Gernsheim uses this technique only rarely. The movement begins quietly, the strings slip in gradually and only then does the tempo increase. The music, which is overflowing with wonderful melody after another is mostly genial and the combination of the instruments is superb. The second movement, Allegro energico e appassionato, a blustering and exciting scherzo, is for its time quite modern sounding. From the opening notes, its begins in dramatic and exciting fashion. However, Gernheim plays with the listener, constantly interrupting the music just when one expects a theme to receive a more lengthy treatment. This creates a very impressive effect.

The slow movement, Andante cantabile, brings relief with its long-lined soothing melody, it could almost be called a song without words. The finale, Tema con varizione, has for its main theme a simple, child-like tune which is first given out by the piano. In the several variations which follows, Gernsheim demonstrates his mastery of form and instrumental technique and finishes it off with an exciting conclusion.