Berwald: Piano Trios No. 4 and in C; Fragments in C and E Flat. Kalman Drafi, piano, Jozsef Modrian, violin, Gyorgy Kertesz, cello – Naxos 8.555002 (63 minutes).
The Swedish composer Franz Berwald was of German origin, but when he was born in 1796 his family had been living in Stockholm since 1772. Taught by his father Christian Friedrich, the young Franz followed in the family tradition by playing the violin in the Court Orchestra from 1812 to 1828.
After a tour of Russia and Finland with his brother Christian August in 1819, the young soloist’s reputation as a composer started to grow. In 1829 he won a patronage to continue his studies in Berlin. During this time Berwald also developed an interest in medicine, opening his own orthopaedic institute in 1835, which he eventually sold to move to Vienna in 1841.
During all these years Berwald seemed to be in love with the operatic genre, writing no fewer than 10 stage-works between 1832 and 1842.
None were the success he had hoped for and on his return to Stockholm in 1842 he decided to concentrate on composition, completing his four surviving symphonies. From now till the time of his death in 1868, Berwald was given many prestigious posts which led to his composing several pieces, including a modest amount of chamber music, but public recognition came late and by the time of his death his music was still underperformed.
Given his lack of pianistic ability, it is very strange that most of his chamber music consists of the five piano trios he wrote between 1845 and 1858, of which two are on this recording. Often dubbed the Mendelssohn of the North, Berwald was a truly gifted composer who had a wonderful sense of form and structure.
The programme on this issue, which also includes two fragments, is punctuated by moments of intimate warmth that evolve into a wonderful feeling of joyful serenity, and the attention to detail makes these performances worth more than the occasional hearing.
Thuille: Wind Sextet in B Flat, Op. 6; Piano Quintet in E Flat, Op. 20. Chantily Quintet, Gigli Quartet, Gianluca Luisi, piano – Naxos 8.570790 (72 minutes).
Ludwig Thuille (1861-1907) was born in Bolzano (then part of Austria) to a book and art dealer, who was also a competent musician.
His father was his first teacher, but sadly the boy was orphaned in childhood. His mother died in 1867 and his father followed five years later, leaving him to settle with his married half-sister in Innsbruck.
This development was eventually very beneficial as in this city he not only furthered his musical education with one of Bruckner’s pupils, but was also able to meet Richard Strauss through the intervention of the latter’s parents, who were on holiday in the city.
Franz Strauss (Richard’s father) even found the young composer a place at the Royal Music School in Munich. Following this meeting, the two men struck up an important relationship which is well documented in a profuse correspondence of which only Strauss’s letters survive.
Having graduated, Thuille first worked as a private music-teacher, which led to his 1883 appointment as a teacher of piano and harmony at the Royal Music School. The composer also enjoyed an early career as a pianist in Munich, particularly in chamber music, and from 1889 his reputation as a choir conductor was held in high esteem. But it was as a teacher that he was chiefly remembered. His many engagements and untimely death in 1907 left him little time for composition.
Apart from a handful of operas, a symphony, a piano concerto and some concert pieces, Thuille’s greatest contribution remains in the chamber and solo piano genres. This disc includes two of his best chamber works. The Sextet, Op. 6 dates from 1886-88, and remains his most performed work. Influenced by Rheinberger, Liszt and Wagner, the piece is full of melodic invention and deft touches.
The Piano Quintet took four years to complete (1897-1901), and its language is very much in the mould of the sextet. The piece has reminiscences of Brahms and with its perception of form and dramatic contrasts it has several moments of thrilling intensity, counterpoint and sweeping lyricism.
Performances are consistently vibrant and generously faithful to the spirit of the music, and the wonderful sense of ensemble brings out all the endearing qualities of these undeservedly rare but wholly rewarding pieces.
These CDs were made available for review by D’Amato Record Shop of 98/99, St John Street, Valletta.