Presents
Caspar Joseph Brambach
Piano Quartet No.3 in g minor, Op.110
It is not everyday that one stumbles upon an unknown masterwork, which makes it all the more exciting when it happens. And Caspar Joseph Brambach's Piano Quartet No.3 in g minor is such a masterwork. Composed in 1899 toward the end of his life, it is a first rate work in every way. It begins with a melancholy Andante sostenuto introduction which slowly builds tension and an expectation of something more exciting to come. And come it does in the main section, Allegro agitato, which is dramatic and full of drive. Brief echoes of Mendelssohn can be heard in the more lyrical sections. The beautiful second movement, Adagio non troppo, has for its main subject a noble singing melody in a slightly valedictory mood. Next comes a Scherzo allegro vivace which literally opens with a bang right out of the starting gate and races along at breakneck speed, even in its more lyrical sections. Talk about excitement. This movement is a stunner, it leaves nothing to be desired. The finale begins with an Un Poco Adagio introduction, which much like the opening movement, creates an aura of suspense. The main section, Allegro vivace, comes soon enough and it is everything you could ask for in a finale--excitement, appealing melodies and superb part-writing. This is a work which surely belongs in the standard repertoire and in the concert hall. Competent amateurs will also revel in this great piece.
Caspar Joseph Brambach (1833-1902), also known as Carl Joseph Brambach, was born in in the German village of Oberdollendorf directly across the Rhine river from the city of Bonn. His early music lessons were from his father. At age 15, he began formal studies on the violin as an external student at the Cologne Conservatory while at the same time working as the concertmaster of the Bonn Opera House Orchestra. When he turned 18, he was admitted to the Cologne Conservatory as a regular student. There, he won several awards for his chamber music and songs. After graduating, he continued his studies privately with Ferdinand Hiller and Carl Reinecke before he himself became a teacher. In 1861, he obtained the position of Municipal Music Director of the City of Bonn. His chamber music and his songs received great attention and praise and were widely performed throughout Germany. The style of his instrumental works can be described as Post-Mendelsohnian with a rich, lyrical, cantabile, singing style.
Parts: $34.95
