Uploaded November 2015 | Updated September 2026, 2 weeks ago
- Composer: Willem (Frederik Willem Johannes) Pijper (8 September 1894 -- 18 March 1947)
- Performers: Ans Bouter (piano), Miep van Luin (piano)
- Year of recording: 1968
Sonata for Two Pianos, written in 1935.
00:00 - I. Allegro aperto, ma pesante
02:59 - II. Grave
06:36 - III. Moderato assai
This very rarely performed piano sonata is a typical Pijper composition: there are many polymetric passages (something Pijper experimented with), and the material is often slender and lithe like a Scarlatti sonata. Pijper also used his germ cell technique in this composition; the slow movement is an invention and there is a fugue in the finale.
This piano sonata was written for the pianists Ethel Bartlett and Rae Robertson.
- Composer: Willem (Frederik Willem Johannes) Pijper (8 September 1894 -- 18 March 1947)
- Performers: Ans Bouter (piano), Miep van Luin (piano)
- Year of recording: 1968
Sonata for Two Pianos, written in 1935.
00:00 - I. Allegro aperto, ma pesante
02:59 - II. Grave
06:36 - III. Moderato assai
This very rarely performed piano sonata is a typical Pijper composition: there are many polymetric passages (something Pijper experimented with), and the material is often slender and lithe like a Scarlatti sonata. Pijper also used his germ cell technique in this composition; the slow movement is an invention and there is a fugue in the finale.
This piano sonata was written for the pianists Ethel Bartlett and Rae Robertson.
![Robert Schumann - Piano Quintet in E flat major, Op. 44
- Composer: Robert Schumann (8 June 1810 29 July 1856)
- Performers: Martha Argerich (piano), Dora Schwarzberg (violin), Lucia Hall (violin), Nobuko Imai (viola), Mischa Maisky (cello)
- Year of recording: 1994
Piano Quintet in E flat major, Op. 44, written in 1842.
00:00 - I. Allegro brillante
09:07 - II. In Modo duna Marcia. Un poco largamente
18:13 - III. Scherzo. Molto vivace - Trio 1 & 2
22:39 - IV. Allegro, ma non troppo
Robert Schumanns Quintet for piano and strings in E flat major has earned a place of distinction among piano quintets, one of only a handful, including Johannes Brahms one entry in the genre and Dvoráks Op. 81 [both uploaded on this channel], that are known to more than just a few performers. Although Schumanns merits as a composer of pure instrumental music have been debated, no astute listener can doubt that the E flat Quintet is the product of a most fertile musical imagination fresh, buoyant, and inventive. 1842 was Schumanns year of chamber music (as 1840 was that of song): after producing three string quartets, Schumann decided to make a happy synthesis of his recently acquired fluency with strings with the piano his native instrument.
- The first movement, marked Allegro brillante, commences with a joyous idea that rings in the ear long after the texture has taken on a gentler tone. Musings on this idea are set against characteristic pianistic figurations before the second theme, a dialogue between the cello and viola takes over. The development section begins in the key of A flat minor in the piano; fragments of melody are voiced by the other players as the music moves into distant harmonic regions. The incessant modulation and fragmentary thematic development are interrupted by a bold assertion of the previously heroic primary theme. Schumann makes little change to his exposition over the course of the recapitulation, only altering a few bars to make the necessary harmonic change, with the second theme, as expected, being re-cast in the tonic instead of dominant.
- In modo duna Marcia, Un poco largamente is the marking of the following movement, throughout which a funereal atmosphere predominates. The stark, mysterious primary melody is introduced by the first violin against a background of simple quarter notes in the lower registers of the other four instruments. The appearance of the second theme is like a welcome ray of sunlight. Schumanns rhythmic palette produces a magical feeling of stasis, as if time were standing still for a short, delicious time. It was at Felix Mendelssohns urging that Schumann decided to throw away the A flat major section that originally served as the middle portion of this strange movement and replace it with the furious onslaught in F minor (agitato) that posterity has come to know. Perhaps the most striking moment in the movement is the remarkable, purposefully crass statement by the viola (on its C string) of the primary theme in the middle of the violent triplet activity. The movement is rounded off by a return of the initial march theme, now with a thudding pizzicato background that dies away into a quiet, otherworldly chord.
- The Scherzo, molto vivace, makes a reprise of both the tonality and vivacious character of the first movement. Schumann chooses to use two separate trios in the movement, the first a lyrical canon, and the second a more robust section in A flat minor.
- Some of Schumanns instrumental works conclude with movements that are but pale shadows of their brothers and sisters; not so with the Piano Quintet. From the opening attack in C minor (the percussiveness of which has caught many unwary listeners quite off guard) to the final glorious, contrapuntal conclusion, the composer imbues this finale with so piquant a mixture of verve, anxiety, and delicate lyricism that it must surely be considered the crowning glory of the entire work. The double fugue that serves as a coda to the finale. Taking as its one subject the principal theme of the first movement and as its other subject the principal theme of the last movement, it forms a noble and fitting conclusion.
The piece is dedicated: Clara Schumann geb. Wieck gewidmet. Robert Schumann - Piano Quintet in E flat major, Op. 44](https://i.ytimg.com/vi/UQQxpJ7Pn1g/mqdefault.jpg)
![Albert Roussel - Le Marchand de Sable qui Passe {The Sandman}
- Composer: Albert Charles Paul Marie Roussel (5 April 1869 23 August 1937)
- Orchestra: Royal Scottish National Orchestra
- Conductor: Stéphane Denève
- Year of recording: 2009
Le marchand de sable qui passe [The Sandman], Op.13, incidental music for a verse play by Jean-Aubry, written in 1908.
00:00 - I. Prélude
04:20 - II. Scène 2
08:06 - III. Interlude et Scène 4
13:03 - IV. Scène finale
Georges Jean-Aubry (1882-1950) is remembered, when he is remembered, for his coinage of the phrase serene anxiety to describe the art of César Franck. Yet, in his time he carved an admirable niche in Parisian musical life as an influential critic; a distinguished minor poet whose lyrics were set by Ibert, Caplet, and Roussel; and an intimate of the circles surrounding dIndy, Ravel, Gide, Viñes, Selva, Séverac, Roussel, and so on. From 1915 to 1930 he lived in London, editing The Chesterian, though he never ceased to be a keen observer of development in French musical life. Roussel became acquainted with Jean-Aubry in 1907, a friendship that lasted until the composers death. An immediate consequence of their meeting was that in 1908 Roussel furnished music for Jean-Aubrys conte lyrique, or verse play, Le Marchand de sable qui passe {The Sandman}, in which that legendary figure proves instrumental in helping a girl and boy, symbolic figures lost in a symbolic forest, to an awareness of their love. After the vibrant rhythmic animation of the Divertissement for winds, composed in 1906, the suave charm, atmospheric scoring (for flute, clarinet, horn, harp, and string quintet), and aura of the uncanny and magical take one by surprise. From the incidental music Roussel drew four extensive segments, to make a concise suite through each of whose movements the Sandmans theme is heard, though managed with such deft cunning that one never tires of it.
dIndy had been Roussels school master and mentor, and Roussel, even as he was completing the course at the Schola Cantorum dIndys private musical school, albeit a rival to the Conservatoire he was teaching counterpoint there, in which capacity his students included Varèse and Satie. While dIndy maintained cordial relations with Debussy, his outspoken disapproval of Impressionism polarized French musical life, provoking jealous partisanship on either hand. It is a measure of his largeness of spirit that he could see beyond the debt to Impressionism in Le Marchand de sable qui passe to recognize Roussels individuality. On 21 July 1910, he wrote to Roussel, I read your Marchand de Sable and was charmed...and, believe me, it was not because sand was thrown in my eyes. I found in it the fine and sound musical qualities I like in you...There are now so many composers who arrange (or disarrange) sounds literally or pictorially or merely aurally....
The piece is dedicated to Suzanne Berchut, a famous singer from the beginning of the 20th century. The premiere was conducted by Roussel in Le Havre on 16 November 1908. Albert Roussel - Le Marchand de Sable qui Passe {The Sandman}](https://i.ytimg.com/vi/UYerPzRzKkU/mqdefault.jpg)
![Sergei Rachmaninov - The Bells
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 28 March 1943)
- Orchestra: National Symphony Orchestra of Ireland
- Choir: Dublin Radio Telefis Eireann Symphony Chorus
- Conductor: Alexander Anissimov
- Soloists: Ivan Choupenitch (tenor), Oleg Melnikov (bass), Helen Field (soprano)
- Year of recording: 1996-1997
The Bells [Колокола, Kolokola], choral symphony for soprano, tenor, baritone, chorus & orchestra, Op. 35, written in 1913.
00:00 - I. Allegro ma non tanto (The Silver Sleigh Bells)
06:47 - II. Lento (The Mellow Wedding Bells)
17:40 - III. Presto (The Loud Alarum Bells)
26:16 - IV. Lento lugubre (The Mournful Iron Bells)
While it is true that Rachmaninovs choral symphony The Bells was ultimately based on the Edgar Allan Poe poem of the same name, its more direct inspiration was the Konstantin Balmont translation into Russian, which takes substantial liberties with the text. He eliminated Poes repetitions, which are so central to his onomatopoetic devices, and he generally ignored his meter. Ironically, The Bells is often performed in English, using a translation of Balmonts translation!
The score for The Bells requires a tenor, soprano, baritone, chorus and large orchestra. The three soloists never sing together, nor do they even appear in the same movement. The four sections of the work represent four aspects of life: birth, marriage, terror, and death.
- The first movement, marked Allegro ma non troppo, is subtitled The Silver Sleigh Bells and features a prominent tenor part. The mood is effervescent and joyous, the scoring colorful and the themes and harmonies richly post-Romantic, typical of the works of the composers middle years. After a nearly two-minute introduction dominated by an irresistible three-note giddy-up theme, the tenor enters to intone the words Listen, hear the silver bells. With the chorus serving mostly in an accompanimental role, the merriment continues for a short while, then gradually subsides, leading to a slow but brief middle section. The tempo picks back up and the music quickly rises to an ecstatic climax, with the brass and bells (celesta) playing a march-like motif while chorus and orchestra gradually fade.
- The Lento second movement is subtitled The Mellow Wedding Bells, and features a soprano soloist. Rachmaninov focuses on the more passionate and intimate aspects associated with weddings. There is one glorious, climactic outburst in the middle of the movement, but the music is otherwise relatively subdued in its unabashedly Romantic demeanor. Without doubt, this is the warmest and most beautiful of the four movements. For all its sanguine beauty, though, there is an allusion near the beginning here to the Dies Irae theme, that ubiquitous motif that crops up in the finale here and in almost every major orchestral composition of Rachmaninov.
- The Presto third movement has been described as demonic. Subtitled The Loud Alarum Bells and representing terror, the music sounds threatening almost from the outset. It begins softly and slowly, but swiftly gathers momentum and mass. The chorus enters with singing that verges on shouting, and thereafter the mood remains unsettled and tense, dark and dissonant. The climax features an outburst on percussion and grim singing by the chorus. As the music seems to fade for a quiet ending, suddenly the tempo picks up and the chorus rises in a powerful crescendo and the movement ends abruptly.
- The finale, marked Lento lugubre and subtitled The Mournful Iron Bells, certainly lives up to these descriptions. It is gloomy; the sound of the baritone is dark, and that of the chorus cold and dispiriting. At the end Rachmaninov conveys only grudging hope, when the music turns sad and warmly Romantic, as the baritone tells of the quiet of the tomb.
Premiered on 8 February 1914 in Moscow, this was the composers favorite work, and the dedication is to Willem Mengelberg and his Concertgebouw Orchestra in Amsterdam. Sergei Rachmaninov - The Bells](https://i.ytimg.com/vi/UdUThLpuBJ4/mqdefault.jpg)






![Ludwig van Beethoven - Grosse Fuge, Op. 133
- Composer: Ludwig van Beethoven (17 December 1770 26 March 1827)
- Performers: Talich Quartet
- Year of recording: 1977
Fugue for string quartet in B flat major (Grosse Fuge), Op. 133, written in 1825.
Beethovens Grosse Fuge {Great Fugue} was originally to have served as the finale to the String Quartet No. 13 in B flat major, Op. 130 [uploaded on this channel]; in fact, that work was first performed with this monumental creation as its sixth and concluding movement. However, the Grosse Fuge, a complete entity in its own right, proved too difficult for the performers and for some members of the audience. Moreover, it seemed an outsized finale for the relatively modest quartet. Beethoven subsequently produced a new final movement for the quartet, an attractive Rondo more in keeping with the spirit of the entire work.
The Grosse Fuge, eventually published as an independent work, is one of Beethovens crowning achievements in the medium of chamber music. The work opens with an introduction, or overtura. Here the mood is dramatic, effectively setting the stage for the whole work. The main theme heroic and defiant, powerful and self-confident is presented in four different versions. First, it is played fortissimo, in an emphatic, assertive manner, which will reemerge as its definitive guise in the coda. The subsequent accounts of the theme gradually become calmer and quieter.
The first fugal section is a double fugue marked Allegro. Here the main theme competes against another subject, which is also fiery and assertive. Their struggle, which includes substantial development, continues fortissimo. The second section, marked Meno mosso e moderato, is also a double fugue, its lyricism providing effective contrast to its predecessor. Here a new theme emerges from the counterpoint of the main melody. The third section, marked Allegro molto e con brio, features further struggle in which the theme eventually falters and seems to disintegrate. The second subject from the first fugal section emerges and appears to take control. Eventually, the main theme is rejuvenated in a passage marked Meno mosso moderato, and the signs of struggle fade in the two Allegro subsections that follow. The coda features the main theme in its original version, but now expanded and clearly triumphant. The mood turns reflective and mysterious, and suddenly the second subject appears, supported by the main theme. The work ends powerfully and magnificently.
The Grosse Fuge is dedicated: Dem Cardinal Erzherzog Rudolph gewidmet. Ludwig van Beethoven - Grosse Fuge, Op. 133](https://i.ytimg.com/vi/XAgdd2VqLVc/mqdefault.jpg)
![Vincent dIndy - String Quartet No. 3 in D flat Major
- Composer: Paul Marie Théodore Vincent dIndy (27 March 1851 2 December 1931)
- Performers: Quatuor Joachim
- Year of recording: 2001
String Quartet No. 3 in D flat major, Op. 96, written in 1928-1929.
00:00 - I. Entrée en Sonate (Lentement)
09:59 - II. Intermède (Assez joyeux)
14:34 - III. Thême varié (Assez lent)
24:32 - IV. Finale en rondeau (Lentement)
More than 30 years separate dIndys 2nd String Quartet from 1897 [uploaded on this channel] from his 3rd, composed over 1928-1929 as he passed his 78th birthday. Between the Violin Sonata (1903-1904) and the Piano Quintet (1924), apart from a few small pieces and arrangements, dIndy composed no chamber music, being preoccupied with administrative duties at his music school, the Schola Cantorum funded with his fortune and for which he wrote the course and composition of his musical testament, La Légende de Saint Christophe (1908-1915), into which he crammed his medievalism, his Catholicism, his enormous erudition, his bigotry and anti-Semitism, and his loathing for the rising tide of Modernism.
The preceding quartets, challenged by the prestige the form commanded owing to Beethovens spate of masterpieces, evinced a preoccupation with form, compensating for a habitual absence of melodic afflatus (especially the 2nd), constricting the unusual lyricism of the First and generating a curious aridity in the monothematic Second. With the death of his wife in 1905, dIndys already highly organized approach to composition took on a systematic rigidity and chef décole self-consciousness as his general outlook soured. The attendant heaviness began to dissipate only toward the end of the Great War when a chance encounter with a sympathetic young woman, Caroline Janson, took a romantic turn leading to marriage in 1920 and that amazing series of late masterpieces attesting a puissant rejuvenation the scintillant Poème des ravages, its companion Diptyque méditerranéen for orchestra, and a half-dozen chamber works rife with joy, the Third Quartet among them. It is not that dIndy has become a fetching melodist in his old age his themes are serviceable rather than memorable but supreme technique is animated by potent feeling, the return of his considerable charm, and a generally relaxed geniality. It was no longer necessary for every new work to be an audacious coup de maître, though the Third Quartet qualifies.
From the opening bars there is lift, cordiality ecstasy, even managed by a master hand. The welcoming mien is confirmed by a two-page notice explicative prefacing the score [included at the beginning of the video] in which the works formal design is spelled out after a brief introduction a compact sonata first movement, passionate yet smiling; a candid Intermède set off by a trio of ravishing tendresse; a slender theme becoming ever more persuasive through seven brief but elaborate variations; and a rondo finale with five refrains leading through nostalgia-laced joy to a triumphant peroration.
The Quatuor Calvet gave the premiere at a Société Nationale concert on 12 April 1930; the quartet is also dedicated to them: au Quatuor CALVET: Joseph Calvet, Daniel Guilevitch, Léon Pascal et Paul Mas. Vincent dIndy - String Quartet No. 3 in D flat Major](https://i.ytimg.com/vi/XNYnWPwEAnE/mqdefault.jpg)