Presents
Eduard Franck
| Soundbites to Sextet No.1 |
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Soundbites to Sextet No.2 |
| 1st Movement | 1st Movement | |
| 2nd Movement | 2nd Movement | |
| 3rd Movement | 3rd Movement | |
| 4th Movement | 4th Movementt |
The String Sextets
Sextet No.1 in Eb Major, Op.41 / Sextet No.2 in D Major, Op.50
Eduard Franck (1817-1893) was born in Breslau, the capital of the Prussian province of Silesia. He was the fourth child of a wealthy and cultivated banker who exposed his children to the best and brightest that Germany had to offer. Frequenters to the Franck home included such luminaries as Heine, Humboldt, Heller, Mendelssohn, and Wagner. His family’s financial position allowed Franck to study with Mendelssohn as a private student in Dusseldorf and later in Leipzig. As a talented pianist, he embarked upon a dual career as a concert artist and teacher for more than four decades during the course of which he held many positions. Although he was highly regarded as both a teacher and performer, he never achieved the public recognition of his better known contemporaries such as Mendelssohn, Schumann or Liszt. As fine a pianist as the first two and perhaps even a better teacher, the fact that he failed to publish very many of his compositions until toward the end of his life, in part, explains why he was not better known. Said to be a perfectionist, he continually delayed releasing his works until they were polished to his demanding standards. Schumann, among others, thought quite highly of the few works he did publish during the first part of his life.
His chamber music must be ranked amongst his finest compositions. Wilhelm Altmann, probably the most important chamber music critic of the 20th century, in writing of Franck’s chamber music, comments:
“This excellent composer does not deserve the neglect with which he has been treated. He had a mastery of form and a lively imagination which is clearly reflected in the fine and attractive ideas one finds in his works.”
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Notes to String Sextet No.1 |
Notes to String Sextet No.2 |
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In this sparkling sextet, we are never far from the influence of Franck's great teacher and inspiration, Mendelssohn. This influence shows itself not only melodically but also in the lightness of touch which Franck employs. It stands in stark contrast to the heavy, full-bodied sextet writing of Brahms. Here, we find clarity of line and an amazing weightlessness, especially for an ensemble two thirds of which are lower voices. Yet at the same time, Franck differs from Mendelssohn in how he makes the most of the sonic possibilities of a large ensemble. The opening theme to the first movement, Allegro, is genial and somewhat relaxed. But slowly tension is built, primarily by means of the rustling notes which are passed from voice. A very Mendelssohnian technique. The the very lovely second theme provides a wonderful contrast. The quiet second movement, Andante, has a pastorale quality to it. Quiet and unassuming, it ticks along peacefully but then gradually begins to build tension until, the first violin brings forth a melody of extraordinary beauty. (our sound-begins as the music starts to build tension) Next comes a lively and energetic scherzo, which has a more lyrical and relaxed theme for its trio section. The exciting finale, Presto, is filled with elan and fetching melodies. Published only once in 1882, it has been unavailable for more than a century. This is a jewel which professionals and amateurs alike will be pleased to discover.
Parts: $34.95
Parts & Score: $44.95
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Of Franck’s Second Sextet, Altmann states: “This sextet belongs in the concert hall. It demonstrates that its composer was a master of musical form and in possession of a gift which allows him to produce strong and noble melodies.” Here also, one can find the influence of Mendelssohn, but perhaps not to the same degree as in the First Sextet. The opening Allegro is spacious and written on a large scale. Despite the strong presence of chords in the cellos, the music is not particularly heavy sounding. The second theme bears a remarkable likeness to one of the prominent melodies from Smetana's The Moldau. The gorgeous, funereal second Adagio molto espressivo e sostenuto which comes next is clearly an elegy. Its sad main theme is extraordinarily beautiful. The third movement, Allegro, begins as a heavy-footed scherzo. But before long, it evolves into an elves dance. Soon the elves and ogres are dancing together. The attractive finale, Allegro molto, might almost be a tribute to Mendelssohn both melodically and rhythmically. The first and only edition of this work was published in 1894. We have corrected the many serious errors which unfortunately occurred in that edition. It with great pleasure that we reintroduce this work after more than a century of its being unavailable. Professionals and amateurs alike will find that it makes a very welcome addition to the known sextet literature.
Parts: $34.95
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