January / February 2016

Eugene d'Albert's String Quartets

Some musicians have heard of Eugène D’Albert (1864-1932) and know that he had been a great pianist and composer of piano works, but few know anything more. But d’Albert was not only a pianist of the first rank, but also a composer whose compositions were admired by Liszt, Brahms, Richter and Eduard Hanslick among others. Born in Glasgow to a French father. (His grandfather had been a cavalry officer in Napoleon’s Grand Armee). His father, also a pianist and bandmaster, gave d'Albert his formative first lessons. His talent was recognized early on and as a result he won scholarships which brought him to London. There he was heard by Hans Richter who sent him to see Liszt in Vienna. In Vienna, he also met Brahms who was very impressed by d’Albert’s playing, as was Liszt, who took him on as a student and came to call him Albertus Magnus in recognition of his tremendous technical ability. The famous Viennese critic Hanslick was astounded at the maturity of the 18 year old d’Albert’s compositions. After completing his studies with Liszt, d’Albert embarked on a successful concert career which included a series of legendary concerts in which he, under the baton of Brahms, interpreted the latter’s two piano concertos. While the bulk of his compositions were either for piano or the opera, d’Albert did write two string quartets.

String Quartet No.1, Op.7 in a minor dates from 1886-7. It is four movements, the first is marked Liedenschaftlich bewegt (Passionately agitated). This properly describes the main theme. The writing exhibits considerable chromaticism and has episodes of Lisztian tonality more advanced than what one finds in Brahms. A surprising fugue brings the movement to close. The next movement, Langsam mit Ausdruck (slow with expression) is lyrically elegiac and contains effective writing for strings. Then comes a very fine and original-sounding scherzo, Mäßig Bewegt (moderate tempo). This is a kind of quick waltz. The trio section is faster yet. A first rate movement. The finale, In maßiger, ruhiger Bewegung-Thema mit Variationen (Moderate & peaceful, theme & variations) is the longest of the four movements and begins with a charming theme. Among the many variations, some are particularly interesting and adventurous tonally. This is an excellent work deserving concert performance but will also attract amateurs.

String Quartet No.2, Op.11 in E Flat Major, also in four movements, was composed in 1893 and dedicated to Brahms, who in his letter thanking d’Albert, noted that the opening theme to the first movement, Andante con moto, shows some resemblance to the beginning of Beethoven’s Op.127 Quartet. This is a spacious movement, yet the unity of thought is preserved. An absolutely extraordinary scherzo, Allegro vivace, follows. This rhythmically interesting (3/4, 2/4, 5/4, 6/8) and exotic, bizarre and very tonally advanced music has an almost, but not quite, French flavor to it. All the voices are muted in a hectic, insect-like buzzing. The short, genial trio section provides a good contrast. The Quartet’s center of gravity is clearly the Adagio ma non troppo e con molto expressione. Much of the movement is characterized by the beautiful cantilena, high in the violin register, while the other voices almost independently explore the supporting harmony. The buoyant finale, Allegro, opens with a richly romantic theme, which shows some Brahmsian influence. It is music full of joy and lovely melodies as well as an effective conclusion. This is a finished work and Hanslick was right to highly praise it. It would be an ornament in any quartet’s repertoire and will also be enjoyed by amateur players.

You can hear soundbites from each movement on our website and if you desire purchase the parts from Edition Silvertrust by clicking on the links above.