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October 8, 2015

Best Piano Quartets

The piano quartet has been called a difficult form to compose for. Although this genre can boast of many great works, among composers it is less popular than the piano trio, and also than the piano quintet (there seem to be only half as many piano quartets as piano quintets). The reason may be that it is difficult to find the right balance between the three string voices and the piano, and give them all enough individuality - the alto part has been called the key.

The earliest true piano quartets are the two works Mozart wrote in 1785 for the publisher Hoffmeister. But there were precursors. For example, in the 1760s and 1770s, in London, several composers, among whom Giardini, Schobert and Johann Christian Bach, wrote keyboard quartets. But those were mostly with harpsichord and have a very different soundscape from the Mozart quartets which were conceived for the pianoforte. More importantly and decisively, there was no equality yet between the instruments (the key element of true ensemble music for piano and strings in any combination).

In fact, the piano quartet developed almost simultaneously with the piano trio and may like the piano trio find its origin in the accompanied sonata (by adding one extra string instrument). Haydn is often mentioned as the inventor if the piano trio (he wrote about 45 piano trios, in the 1760s, 1780s and again in the 1790s), but these are all in a keyboard dominated style. That all instruments were treated as equals came first about in the works of Mozart, tentatively in the Divertimento in B Flat of 1776, and assuredly in 1786 when Mozart wrote a series of three great piano trios. As we saw above, that was at the same time that Mozart also wrote the first true piano quartets. Mozart, therefore, can stand as the originator of both genres and their first successful composer.

However, in the Classical period the piano quartet remained a marginal genre of house music and it is only in the Romantic period, with works by Ries, Hummel, Louis Ferdinand, Kuhlau, Kreutzer and the (very) young Mendelssohn, that the piano quartet comes into its own as as a true form of chamber music where all instruments are treated as soloists. Just as with the piano quintet, it was Schumann who wrote a great Romantic piano quartet and is responsible for the popularity of the genre in the second half of the 19th c. and first decades of the 20th c. Composers who wrote great piano quintets, often also wrote piano quartets that belong to the top of the canon: after Schumann, we also find again Brahms, Dvořák, Fauré, etc.

Here is my list of best piano quartets.

Wolfgang Amadeus Mozart, Piano Quartet No. 1 in G Minor K478 (1785)
Mozart's Piano Quartet in G Minor was the first of three piano quartets commissioned by the publisher Hoffmeister. But as the public found the work too difficult, the publisher withdrew from the venture before all three quartets had been written (Mozart finished the second quartet for his own pleasure). In Mozart's time piano quartets, piano trios and violin and cello sonatas were conceived as domestic music for keyboard, accompanied by one or more string instruments. In middle and upper-class families, the daughters received a solid musical training as keyboard players; the sons were violinists or cellists, but on a much more basic level, as they had many others things to learn, such as fencing and horse-riding. Mozart blithely disregarded the limitations of such amateur players and wrote music meant for professionals. The First Piano Quartet, starting with a unison opening gesture, boasts a complex and passionate first movement. Mozart treats all four instrument as equal, a novel development. The second movement, Larghetto, is particularly delicate and lovely and brings the necessary balm. The finale is an inventive Rondo, with one hummable tune after another. This work is a true gem, Mozart at his most fetching.
Recording listened to: Malcolm Bilson (Fortepiano), Elizabeth Wilcock (Violin), Jan Schlapp (Viola) and Tomothy Mason (Cello) on Archiv Produktion (with Piano Quartet K493; on authentic instruments).

2. Friedrich Kuhlau, Piano Quartet No. 3 in G Minor Op. 108 (1829)
Friedrich Kuhlau (1786-1832) was a north-German born, Danish composer. He was an admirer of Beethoven and also shares the period style with Ries and Hummel. His dramatic works were very popular at the Royal Danish Theater in Copenhagen. Alongside these operas, Kuhlau wrote many chamber compositions for the flute and instrumental works for the piano. The present Piano Quartet (his third one) dates from the end of his life and was published posthumously, although Kuhlau played the piano at its first performance in 1829 (with Moscheles who reported on it among the public). It is optimistic music in the grand style with a virtuoso piano part that according to Moscheles' testimony at the premiere proved a bit above Kuhlau's abilities. The Scherzo is in second position; the slow third movement is the emotional heart of the quartet - starting very friendly, it takes on surprisingly dramatic features.
Recording listened to: esBé String Quartet with Andreas Meyer-Hermann, piano, on CPO (with String Quartet Op 122).

3. Robert Schumann, Piano Quartet in E Flat Major Op. 47 (1842)
Schumann's Piano Quartet has been called the "creative double" of his Piano Quintet, also in E-flat major; it is one of the most popular works in this genre. The work was composed in 1842, during Schumann's "Chamber Music Year." The Piano Quartet is a lyrical score, with the piano dominating. It has been said that Schumann was influenced by Beethoven's Op. 127 string quartet when composing this piano quartet. He starts with a solemn introduction before venturing into the main Allegro ma non troppo. Elements of that introduction return in the development. The second movement is an elfin Scherzo in the style of Mendelssohn. The deeply romantic Andante cantabile is characterized by an almost ecstatic melody. The final Vivace has winning melodies, but also solid contrapuntal writing. Although the Piano Quartet is outwardly joyful, it also harbors a general atmosphere of restlessness.
Recording listened to: Fitzwilliam String Quartet with Richard Burnett, pianoforte, on Amon Ra (with Piano Quintet and Violin Sonata No 1).

4. Johannes Brahms, Piano Quartet No. 1 in G Minor Op. 25 (1861) 
Although Schumann's Piano Quartet was much praised, I believe that the ultimate boost for the rise of the Piano Quartet was given by Johannes Brahms, who wrote three very successful works in the genre, two in 1861 and one in 1875. We will look here at his first quartet in G Minor that was published 1861 after a gestation period of about four years. The somberly dramatic and spacious first movement begins with a declamatory statement. It combines troubled Romantic vocabulary with Classical symphonic control. The second movement is called "Intermezzo," but has the nature of a gentle scherzo. The main theme is based on Robert Schumann's "Clara motif," used by Brahms to hint privately at his own love for Clara Schumann. The slow movement consists of an ardent song that however gradually develops into a military march. The finale, Rondo alla Zingarese, is a riot of madcap Gypsy music, full of wild abandon. This piano quartet was Brahms' first published one; it was preceded by a youth work, and, more importantly, followed by two more piano quartets, one - a very sunny work, but also Brahms' longest chamber work - in the same year, and a final one in 1875. Brahms definitely put the piano quartet on the musical map. In 1937, Arnold Schoenberg made a version for orchestra of the First Piano Quartet, bringing out the orchestral sonority with the help of massed strings and brass.
Recording listened to: Emanuel Ax (piano), Isaac Stern (Violin), Jaime Laredo (Viola) and Yo-yo Ma (Cello) on Sony Classical (with Piano Quartets Op. 25 and Op. 60).

5. Josef Rheinberger, Piano Quartet in E Flat Major Op. 38 (1870)
Liechtenstein-born Josef Rheinberger worked all his life in Munich where he was a professor at the conservatory. He was especially good in chamber music, and one of his earliest works was the present Piano Quartet. The big-boned opening movement starts with brooding strings, but instead of the storm which seems to be brewing, a joyous melody breaks through that makes you want to hum along. The deeply romantic Adagio is a dialogue between piano and strings and this is followed by a swinging Menuetto. The Allegro finale in rondo-form is built on a capricious theme, but this movement also contains some excellent contrapuntal writing. Until WWI, this was one of the most popular piano quartets, after which it inexplicably fell out of the repertoire.
Recording listened to: Orchester-Akademie des Berliner Philharmonisches Orkesters on Thorofon (with Cello Sonata and Horn Sonata).

6. Camille Saint-Saëns, Piano Quartet in B Flat Major Op. 41 (1875)
The 1870s witnessed a flourishing of chamber works by French composers. Prior to this decade, opera reigned in France, and little opportunity existed for French composers to have their instrumental works performed. But thanks to the founding of the Société Nationale de Musique in 1871, dedicated to the promotion of new French instrumental music, young French composers of the 1870s were stimulated to write chamber music, for which an audience now seemed assured. Saint-Saëns was a notable contributor to the genre. The Piano Quartet starts with a sprightly movement that is also lyrical in a typically French way. It exudes an overall sense of serenity and ease and is in lucid sonata form. The Andante maestoso contrasts rhythmical passages on the piano with choral- and fugue-like music in the strings, calling Bach to mind and also revealing Saint-Saëns' background in organ and church music. The frolicsome third movement is a whirlwind scherzo in the form of a rondo. The quartet closes with a complexly structured finale, a vigorous rondo in which themes from the previous movements are brought back in a cyclical way, but which also leads to a suitably rousing ending after traveling from D Minor back to the B Flat Major of the first movement. Note that the climax of the whole work has been placed in this final movement, instead of the first movement as was often the case in previous times. This piano quartet was actually the second one completed by Saint-Saëns, as he wrote an earlier one at the beginning of the 1850s, a youth work that he however kept in his drawer.
Recording listened to: Quartetto Avos on Brilliant Classics (with Piano Quartet in E Major).

7. Vincent D'Indy, Piano Quartet in A Minor, Op. 7 (1878)
Vincent d’Indy (1851-1931) was sent to Law School by his family but, intent on becoming a composer, he eventually managed to be accepted by César Franck as his pupil. Besides his fine works, D'Indy left his mark also in another way on French music: in 1900 he founded the Schola Cantorum, the most important music school in France after the Paris Conservatoire. d'Indy wrote the Piano Quartet soon after having started his studies with Franck and it inevitably shows the influence of that last composer (who wrote a famous Piano Quintet but never tried his hand at a quartet). The first movement, cast in sonata form, consists of an almost unceasing piano part and thick string writing. It begins with a dark melody played by the cello over the rushing accompaniment of the piano. The slow, tragic second movement, titled “Ballade,” consists of two main themes that alternate and combine. The very French third movement is a joyous and energetic rondo. It begins in a festive mood with the rhythm just as important as the melody.
Recording listened to: Caroline Weichert (Piano), Marietta Kratz (Violin), Thomas Oepen (Viola) and Bernard Gmelin (Cello) on Koch Schwann (with Sextet Op. 92 and Violin Sonata Op. 59).

8. Gabriel Fauré, Piano Quartet No. 1 in C Minor Op. 15 (1879)
Fauré's First Piano Quartet was written almost simultaneously with the above one by d'Indy, at a time the composer was already forty years old (the low opus number is confusing). The first movement possesses a cantabile character and great refinement of texture. Much of the musical material stems organically from the opening measures. The whole movement is pervaded by optimism, both in the exposition and development of the piece. The second movement is a delightfully playful scherzo. The third movement is a dark and mournful Adagio, with the strings frequently playing unisono. The fourth movement is in sonata form and incorporates vigorous dotted rhythms and contrasting themes to provide a suitable culmination for the whole quartet. This Piano Quartet is counted among the most popular ones ever written, together with those by Schumann, Brahms and Dvořák. In 1886, Fauré wrote his Second Piano Quartet, another superbly crafted and melodically generous work.
Recording listened to: Quartetto Beethoven di Roma on Dynamic (with Piano Quartet Op. 45).

9. Antonín Dvořák, Piano Quartet No. 2 in E Flat Major Op. 87 (1889)
Dvořák started writing this Piano Quartet immediately after finishing the Piano Quintet in 1887, but it took some time to complete. He had in fact composed an earlier piano quartet in 1880, but that work had never enjoyed much success. The Opus 87 piano quartet, as it finally came about, is a sprightly work full of abundant melodies. It is a prime example of the composer's mature style. The first movement in sonata form is characterized by a brisk main subject which is presented right at the start in strong unison from all the instruments. The piano, which is quite independent in this movement, answers with something completely different. At a certain moment, Dvořák pretends to be repeating the exposition, but in fact skips off into the development. The luxuriant slow movement is one of Dvořák's most beautiful. An expressive cello solo establishes a magical mood here. The third movement, grazioso, features a melancholy waltz, just like the similar movement in Dvořák's Eight Symphony in G Minor. The final movement is also in dance meter, with a dazzling rhythmic main theme, bringing us after much dialogue between the four instruments to a convincing ending in the major key.
Recording listened to: Menahem Pressler, piano, with Emerson String Quartet on Deutsche Gramophon (with Piano Quintet).

10. Arthur Foote, Piano Quartet in C Major Op. 23 (1890)
The Piano Quatet was one of Arthur Foote's most often performed works - Foote alone played it at least forty times in public concerts. It was in the repertoire of many well-known quartets in Europe and America. True to C Major, this piano quartet starts in a celebratory mood, in a lively tempo, with a movement that is sunny and full of good spirits. The Adagio which follows after a breezy Scherzo features a sweet melody which is both haunting and unforgettable. It has been called a joyous theme of thanksgiving. The Finale is clear and spontaneous, full of good sense. Foote's Piano Quartet is benevolent and compassionate in character, rather then passionate, heroic, sensuous or hysterical. Foote is a melodist like Schubert and it is again unbelievable that this fine music has dropped out of concert programs.
Recording listened to: Da Vinci Quartet with James Barbagallo, piano, on Marco Polo (with String Quartet No 1, etc.). 

11. Heinrich von Herzogenberg, Piano Quartet No. 2 in B Flat Major Op. 95 (1895)
The Austrian composer Heinrich von Herzogenberg (1843-1900) was a great admirer of Brahms. That is very clear in the Second Piano Quartet which moreover was written when Brahms was on his deathbed and therefore meant as a tribute to the great master. That is especially clear in the gripping but also economically shaped first movement, which starts with a series of sharp chords which serve as core material for the whole Allegro. The Adagio (called "Notturno") is a pearl in Herzogenberg's oeuvre, a work full of dreamy intimacy. The subtitle perhaps refers to the fact that also Herzogenberg felt that he was in the evening of his life - this Piano Quartet would be his last chamber work. The capricious Scherzo features a central section which suddenly changes to pastoral music. The rousing last movement is based on an attractive folkloric theme with a Hungarian flavor, but also reprises the themes from the previous movements to bring the quartet to conclusion. An earlier piano quartet was written by Von Herzogenberg in 1891-1892; it also has strong Brahmsian qualities and was dedicated to the memory of his wife, who died shortly before the work was composed.
Recording listened to: Andreas Frohlich, piano, with Belcanto Strings on CPO (with String Trio, etc.).

12. Cark Reinecke, Piano Quartet No. 2 in D Major Op. 272  (1904)
A four-movement composition which at only twenty minutes is very concise in its dimensions. It was written by Reinecke when he was already eighty years old. Reinecke was a great concert pianist, conductor and professor at the Leipzig Conservatory, where he educated several new generations, among them Albeniz, Bruch, Delius, Grieg, Janacek, Reznicek, Röntgen, Sinding and Svendsen, to name only a few of the composers. And as a composer Reinecke himself was in his time regarded as a first-rate master. It is due to our lopsided and shortsighted way of writing musical history, where only the stepping stones to "new" developments are counted (which in the end led to nothing, for atonality was a dead end) that Reinecke as transmitter of the important tradition of Mendelssohn and Schumann has dropped out of the canon. The educator Reinecke also shows himself in the present piano quartet for it is dubbed "in the easier style." At a time when new chamber music was so difficult it could only be played by advanced professionals (the opposite to the situation in the time of Mozart), Reinecke tried to reach out to amateur musicians. That doesn't mean this is not a beautiful and interesting quartet. It starts with a warm romantic Allegro, after which follows a short Scherzo. The meditative Adagio is the lyrical center of the work, which then concludes with a charming Rondo Allegretto. In contrast to other composers who around this time loaded their scores with heavy pathos, Reinecke has achieved a quartet of great freshness and classical charm. An earlier piano quartet was written already half a century earlier, in 1853, by Reinecke, superbly crafted music in the vein of Mendelssohn.
Recording listened to: Linos-Ensemble on CPO (with Piano Quartet Op. 34 and Piano Quintet).

13. Gustav Jenner, Piano Quartet in F Major (1905)
Gustav Jenner (1865-1920) was the only formal composition pupil of Johannes Brahms (he studied with Brahms during the years 1888 to 1895). He worked for most of his life as Musical Director and conductor at the University of Marburg, despite invitations to more prestigious posts. Jenner also wrote two volumes of reminiscences about Brahms. Not surprisingly, his music has a strong Brahmsian imprint, but it is always finely wrought. That is certainly the case with Jenner's Piano Quartet, which with its strongly symphonic sound even calls Brahms' Third Symphony to mind. The large opening Allegro is characterized by a spacious and optimistic first theme, and a second theme reminding one of "fin de siecle" Vienna. The second movement contains a quotation from Schubert's First Piano Trio and grips the listener with its finely nuanced dialogue and ingenuous treatment. After a muscular Scherzo with heavy accents in the low register of the piano and cello follows the Vivace non troppo finale, which is rich in variation, such as a short "alla Zingharese" Hungarian rhapsody. Due to his personal modesty and the demanding education by the strict Brahms, Jenner had only few of his compositions published, but I am sure that Brahms would have approved of the present piano quartet!
Recording listened to: Mozart Piano Quartet on CPO (complete chamber works).

14. Theodore Dubois, Piano Quartet in A Minor (1907)
Dubois' Piano Quartet has been praised for its lyricism, clarity of form and the appeal of its thematic material. A tempestuous breeze blows through the whole first movement, which starts out with a sweeping phrase in the cello, taken up by violin and viola, and supported by a breathless piano. Only the second theme brings some serenity. The slow second movement starts with a beautiful melody played on the violin, which later on is contrasted with more rhythmic material. The third movement, Allegro leggiero, is in the spirit of a scherzo but in binary meter and consists of a bouncy dialogue between piano and strings. The finale is built and developed with different themes and motives from preceding movements, making it a sort of synthetic summary of the work, as was common in France at this time. The first theme, for example, is a rhythmic variation of the opening theme of the first movement. The coda brings the quartet to a brilliant close.
Recording listened to: Trio Hochelaga with Jean-luc Plourde, alto, on Atma Classique (with Piano Quintet). 

15. Max Reger, Piano Quartet No. 2 in A Minor Op. 133 (1914)
The German composer, organist, pianist and teacher Max Reger (1873-1916) was the greatest writer of complex counterpoint after Bach. His music is often dense and complex. The Second Piano Quartet is less difficult than the First Piano Quartet  Op. 113 of 1910. In contrast to that previous, symphonic quartet, it aims at chamber music clarity. Reger's usual, heavy chromaticism is here supported by tenderness and sweetness. The string lines are handled as a homogeneous body, doubling up in pairs or playing in unison. The piano part uses the full range of the instrument. The emotions in this quartet are muted and the first movement Allegro con passione is tempered by melancholy. The Scherzo is unusually airy but has also a certain eeriness in the trio. The solemn Largo con gran espressione suggests sustained meditation, or a prayer. The finale is full of a grim kind of humor but also a feeling of resignation. The Piano Quartet was written when Reger was recuperating from a severe burnout as conductor of the Meiningen Court Orchestra, a position he gave up to devote himself to teaching at the Leipzig Conservatory. Unfortunately, Reger kept up an impossibly heavy schedule (also composing many masterworks in these years) and he died of a heart attack in 1916.
Recording listened to: Clausius Tanski, piano, with Mannheim String Quartet on MDG (with Three Duos for Two Violins).

16. Arnold Bax, Piano Quartet in One Movement (1922)
Arnold Bax (1883-1953) was born in London and studied at the Royal Academy of Music. As a man of private means, he didn't make much of a career as performer (although he was a talented pianist) and also took his time establishing himself as a composer. As a young man, Bax soaked up Irish and Celtic influences which can be heard in much of his music. Besides a series of great symphonies, Bax was also from the first a composer of chamber music. Bax was launched on the musical scene after the Great War, when he was already in his forties, and that is also the period from which the Piano Quartet stems. It is a grim and aggressive work, in one movement lasting just over twelve minutes, typical of those difficult postwar years when - shocked by the great massacre of the war - contented Brahmsian music was no longer a viable option. Bax later adapted the work for piano and orchestra and then gave it the title "Saga Fragment." Indeed, Civil War had also engulfed Ireland at the time of writing.
Recording listened to: John McCabe, piano, with the English String Quartet on Chandos (with String Quartet No 1 and Harp Quartet).

17. Joaquín Turina, Piano Quartet in A Minor Op. 67 (1931)
Joaquín Turina (1882-1949) was born in Seville and studied in Madrid and Paris (from 1905 to 1914). He took composition lessons from Vincent d'Indy at the Schola Cantorum of Paris, and like his contemporary and countryman Manuel de Falla befriended Maurice Ravel and Claude Debussy. Turina's compositions often draw on the folklore and guitar style of Spain and that is also true for the Piano Quartet. The quartet has an unusual movement sequence of Lento - Vivo - Andante; the movements are thematically linked. After a slow introduction, the first movement sets out with a main theme in a swaying rhythm. The violin leads in alternation with the piano, but there is also an appealing section in which the cello takes the lead with high notes. The second movement has a dance-like and folkloristic character. The last movement has a rhapsodic character and brings back melodies from the first movement as well.
Recording listened to: Ensemble Variable on CPO (with Piano Quintet etc.).

18. George Enescu, Piano Quartet No. 2, Op. 30 (1944)
The Romanian composer George Enescu (1881-1955) was educated in Vienna and at the Paris Conservatoire. His international career spanned both Romania and France, although in the latter part of his life he solely resided in France. Much of Enescu's music was influenced by Romanian folk music. The Second Piano Quartet was written in 1943-44 in the memory of Enescu's teacher Gabriel Fauré, marking the twentieth anniversary of his death. It is a refined work that demonstrates the density of thought and subtlety of expression of the mature Enescu. The Allegro moderato has a brooding unease, also due to the elusiveness of the sense of key. The Andante pensieroso et expressivo is the most French in style, and has a more animated central section. The agitated closing movement generates momentum to bring the work to a powerful conclusion. The Romanian folk influences are rarefied to an advanced degree in this quartet. Enescu also uses the strings in a for him typical continuum of sound. The piano complements rather than opposes the writing for the strings. The Piano Quartet No. 2 was in 1947 premiered in Washington D.C., thanks to the sponsorship of Elizabeth Sprague Coolidge.
Recording listened to: The Solomon Ensemble on Naxos (with Piano Quintet).

[Incorporates some information from the CD booklets, Wikipedia, etc. All images linked from Wikipedia. Some of the recommended CDs may not be available anymore (or the names of the labels may have changed)]

September 30, 2015

Best Piano Quintets

Of the various combinations of the piano with strings, the piano quintet has the greatest sonority and orchestra-like qualities - although, as this is chamber music, all players perform as soloists. The piano quintet was quite  popular in the 19th and 20th centuries and many great works have been written for this form of chamber music. I am a great fan of chamber music and especially of the piano quintet.

Although Haydn, Mozart and the young Beethoven already wrote important piano trios in the 18th century, the piano quintet was a bit slower in coming into being. That being said, already in the time of Mozart it was quite common to play piano concertos as home music in the form of a piano quintet (piano plus string quartet), and that custom continued well into the 19th century - also Chopin's piano concertos, for example, were additionally published in adaptations for piano quintet. After all, the only way to hear music in the age before there were recordings, was to play it yourself, if necessary adapted as home music.

The first original piano quintets (for piano and string quartet) were written by Boccherini at the very end of the 18th century and he must in my opinion stand as the genre's "inventor" (although mistakenly not generally recognized as such). He wrote 12 original piano quintets (two sets of six) in 1797 and 1799, where the piano and strings compete in an equal contest. Although Boccherini lived in far-away Madrid, as his quintets were published in Paris, they certainly didn't go unnoticed. It is true that he had several precursors, such as Giordani who in 1771 and 1772 published two sets of six piano quintets in London, or Vanhal who in 1784 published three piano quintets, but these works all have an  "archaic" character, as the strings are mainly used to fill in the harmony as in the in the 18th century so popular "accompanied sonata" - the voices are not yet independent. That Boccherini wrote the first real the piano quintets is not so strange, for he was a great experimenter who tried out many innovative instrumentations in his countless chamber works. And as a cello player he had a natural tendency to give more independence to the lower strings.

A further piano quintet on a rather large scale for this same instrumentation was written in 1803 by Louis Ferdinand, Prince of Prussia and a promising pupil of Beethoven and very original composer in his own right (unfortunately, the prince was killed in 1806 at a young age in the Napoleonic wars).

Parallel to these developments, a different type of piano quintet also came into being in 1799 when the Czech composer Dussek wrote the first piano quintet in the so-called "Trout instrumentation," i.e. violin, alto, cello and double bass, named after Schubert's famous piano quintet for this combination (Dussek's quintet was published in 1803). This instrumentation remained popular in the 19th c. and we have for example quintets by Hummel (1802), Ries (1817), Schubert (1819), Limmer (1830-1835), Farrenc (two quintets from 1840), Onslow (1846) and Goetz (1874) for this combination.

Schumann's piano quintet of 1842 is generally seen as a breakthrough, not only because it was a very influential work, but also because he again paired the piano with a string quartet as Boccherini and Louis Ferdinand had done (and of course others - there is, for example, a piano quintet for piano and string quartet dating from 1826 by the in Paris active Anton Reicha). Schumann's quintet had so much success (it is arguably one of the best works he ever wrote) that he has even been credited with the creation of the genre. As we have seen above, that was not true, but the artistry and high seriousness of the Schumann quintet were a quantum leap forward for the whole genre. Schumann's quintet was followed by Berwald (1853), Gouvy (1861), Brahms (1864), Franck (1879), Dvorak (1887) and many others, and the "Trout instrumentation" gradually died out. As we will see, the piano quintet remained very popular in the first three decades of the twentieth century, especially among French composers (for much of the 19th c., France used to an opera country where symphonic and chamber music was not popular, but this changed in the 1870s, when a new generation of composers started composing focusedly in these very genres).

Here is my list of best piano quintets - this time I have also included works by famous composers, for after all we are talking about the rare genre of chamber music, so even such major works are not really "world famous" and deserve some boost.

1. Luigi Boccherini, Piano Quintet No 3 in E Minor G. 415 Op. 57 (1799)
The Italian composer and cellist Luigi Boccherini (1743-1805) had in 1761 settled in Madrid where he served at the court of the Infante Don Luis. After the death of his sponsor in 1785, Boccherini - whose fame was already of an international nature - was named court composer in absentio by Friedrich Willem II, the King of Prussia, but this patron died in 1797. This led to a flurry of compositions as Boccherini had to supplement his income. In that year, Boccherini wrote his first set of piano quintets which were published by Pleyel in Paris as Op. 56. The fervid experimenter Boccherini had created a new genre! In 1799, he wrote another set of piano quintets, Op. 57, which he dedicated to the "French nation and Republic" and sent to the French Ambassador in Madrid. These quintets are more elaborate than Op. 56 and also incorporate thematic references to France. The Quintet in E Minor is in five parts. It starts with an Andante lento assai which is full of dynamic leaps and features a second theme in the manner of a funeral march. This is followed by a graceful Minuetto (without trio)  and with no break follows the Provensal, an dance-like Allegro vivo that contains the most explicit reference to France. It is structured in the form of a Rondo with variations. The next Andante forms a sort of agitated recitative, and this leads to the fifth part of the quintet, which is a new reprisal of the Provensal and thus concludes the quintet. A very inventive and characteristic work, fully worthy of being one of the first piano quintets ever written.
Recording listened to: Zagreb String Quartet with Riccardo Caramella, piano, on Nuovo Era (with Piano Quintets Op. 57 Nos. 1 & 2).

2. Johann Nepomuk Hummel, Piano Quintet in E Flat Minor, Op 87 ("Trout Instrumentation," 1802)
Johann Nepomuk Hummel (1778-1837) was a child prodigy and pupil and housemate of Mozart. From 1788 Hummel spent four years concertizing throughout Germany, Holland and England. After returning to Vienna in 1792, he studied composition with Albrechtsberger, Salieri and Haydn. Hummel became Haydn's successor in Eisenstadt and later served as music director at the courts of Stuttgart and Weimar. Hummel apparently wrote the present Piano Quintet already in 1802, but only had it published in 1822, three years after Schubert's Trout Quintet. The main theme of the opening movement has a martial character. The movement is in very free sonata form, the second theme does not appear until after a mock "development." The Minuetto is a mixture of animation with melancholy. In contrast, the Finale is full of lighthearted merriment and leads to a brilliant close. A masterpiece that deserves to be better known, like all Hummel's music. Hummel was an important and direct link between Mozart and the Romantic period.
Recording listened to: Sestetto Classico on MDG (with Grand Sextuor by Bettini).

3. Ferdinand Ries, Piano Quintet in B Minor, Op. 74 ("Trout Instrumentation," 1817)
Ferdinand Ries (1784-1837) was Beethoven's most gifted pupil, and a fine composer and virtuoso pianist in his own right - again a composer who is today unjustly forgotten. Ries showed musical promise from an early age, before concertizing throughout Europe for a number of years. After that, he settled down in London and in his later years retired to Frankfurt. He wrote symphonies, piano concertos, but also a vast corpus of instrumental and chamber music. The present Quintet was written in London and performed with Ries at the piano. After a slow lamento introduction, containing some Hungarian elements, follows an exciting Allegro con brio in which one bravura passage for the piano follows the other, leaving little space for the strings. Here we have the admired piano virtuoso Ries in full force. The song-like Larghetto opens with a beautiful cello solo. The brilliant and dramatic Rondo finale follows without a pause - it is the most exciting part of the Quintet and again contains a brilliant piano part, although there is also a calm interlude that evokes a sort of medieval atmosphere.
Recording listened to: Ensemble Concertant Frankfurt on CPO (with Grand Sextuor and Sextet by Ries)

4. Franz Schubert, Piano Quintet "The Trout" ("Trout Instrumentation," 1819)
Franz Schubert (1797-1828) wrote his famous Trout Quintet for domestic music-making in the household of one of his sponsors, a rich amateur cellist called Sylvester Paumgartner, but the work was only published in 1829, after Schubert's early death. Paumgartner's house was located in Steyr, in lovely rural surroundings, and that may have contributed to the relaxed and warm atmosphere of the quintet. The work has the character of a serenade, also through the use of the double bass, which as we saw may go back to Dussek's quintet from 1799, Hummel's from 1802 (although that last one was only published in 1822) or Ries' from only two years previous. The expansive first movement makes play with the natural contrast between the percussive features of the piano and the polished qualities of the strings. The second theme has much spaciousness. This is followed by an ornamented Andante and an agile Scherzo. Next comes a set of variations on the theme of a song, "The Trout" by Schubert, that was very popular with the Paumgartners. The genteel variations are around the melody rather than on it, as it is played over and over without concealment. The bubbling accompaniment to the original Trout song returns in full force at the end of the set of variations. The quintet concludes with an Allegro giusto, full of good humor.
Recording listened to: Members of the Hagen Quartet with Andreas Schiff, piano, and Alois Posch, double bass, on Decca.

5. Louise Farrenc, Piano Quintet No. 1 in A Minor, Op. 30 ("Trout Instrumentation," 1840)
Louise Farrenc (1804-1875) was a virtuoso pianist and composer who had received lessons from Moscheles, Hummel and Reicha. In 1842 she was appointed to the permanent position of Professor of Piano at the Paris Conservatory, a position she held for thirty years. She composed in the first place for the piano, but also wrote chamber music and three symphonies. Her husband Aristide Farrenc established one of France's leading music publishing houses, the Éditions Farrenc, and also published her music. Louise Farrenc wrote two Piano Quintets, both the work of an accomplished‚ highly inventive composer. Both works have four movements following the classical forms and key schemes, but they are also characterized by a colorful harmony with a romantic sweep. The piano is the leader of the ensemble‚ sometimes even in a virtuoso way, for example in the opening Allegro of the First Quintet. The slow movement of that quintet has a dreamlike, Schumannesque opening theme in the high register of the cello. The following Scherzo is high-spirited and memorable. The finale concludes with a buoyant theme.
Recording listened to: Linos Ensemble on CPO (with Piano Quintet No 2).

6. Robert Schumann, Piano Quintet in E-flat major, Op. 44 (1842)
Robert Schumann (1810-1856) began his career chiefly as a composer for the piano, and it was only in the 1840s that he tried his hand at orchestral music (including a piano concerto) and chamber music. In fact, prior to 1842, Schumann had published no chamber music at all, but in this year alone he would compose three string quartets, a piano quintet, a piano quartet, and the Phantasiestücke for piano trio. In writing his Piano Quintet Schumann may have been inspired by Schubert's second Piano Trio in E Flat major, as there some structural resemblances. The reason he opted for a string quartet next to the piano instead of continuing to write a piano quintet with double bass as had become customary in the early 19th century, was probably due to the cultural prestige the string quartet had achieved by this time as the most prestigious chamber ensemble, as well as the increased dynamic range of the piano which made a double bass unnecessary. The work was dedicated to his wife Clara, a renowned pianist, but she was ill during the first performance and Mendelssohn had to step in and sight-read the difficult piano part. The opening Allegro brilliante is characterized by two contrasting themes, an energetic, upward leaping theme, and a meltingly romantic second theme. The second movement is a funeral march, like in Schubert's trio mentioned above, but also reminiscent of the funeral march in Beethoven's Third Symphony (both are in C Minor). The theme is used in Bergman's film Fanny and Alexander. The third movement is a lively Scherzo with two trios and the final Allegro ma non troppo ends by combining its main theme with that of the first movement in a double fugue.
Recording listened to: Artis Quartett with Stefan Vladar, piano, on Sony Classics (with the Piano Quintet by Brahms).

7. Louis Théodore Gouvy, Piano Quintet Op 24 (1861)
Louis Théodore Gouvy (1819-1898) was born in the border region between Germany and France and shared both cultures. Educated at the conservatoire in Paris, he spent most of his working life in Germany as there was little interest in symphonic music and chamber music in "opera-crazy" France. But Gouvy's music is characterized by French spirit and suavity, rather than German heaviness. The Piano Quintet starts with a joyous and dynamic Allegro giocoso. It is characterized by a continuous eight-note pattern that keeps moving things along at fast speed. The first theme is utterly charming and the second theme in the cello is sweet and warm. The slow movement is a Larghetto mosso, a sort of berceuse with an intriguing dream atmosphere. The third and last movement provides a brilliant conclusion in the form of a Rondo with a stirring refrain. This is a quintet chock-full of lovely and captivating melodies.
Recording listened to: The Denis Clavier Quartet with Dimitris Saroglou, piano, on K617 (with art songs and string quartet).

8. Johannes Brahms, Piano Quintet in F Minor Op. 34 (1864)
Johannes Brahms (1833-1897) advanced the compositional ethic of the great Classical composers into the late-Romantic era and was one of the most influential German / Austrian composers, until will into the twentieth century. Brahms was enthusiastically promoted by Schumann and he remained a life-long friend of Schumann's wife Clara after that composer's death. Clara Schumann also played a role in the long and difficult gestation of the present piano quintet. Brahms had originally written it as a string quintet in 1862, but the famous violinist Joseph Joachim judged it too difficult and lacking in tonal appeal. Brahms then reworked it into a Sonata for Two Pianos and sent it to Clara, who answered that it was too full of orchestral richness to play as a sonata. That finally inspired Brahms to combine the piano and strings into the present piano quintet. The outer movements are more adventurous than usual in terms of harmony. The first movement starts with a strong unisono by all instruments, a sort of dramatic, theatrical phrase. The tempestuous and tragic movement is in tightly packed sonata form. The second movement is a tender Andante, the third one of Brahms' most electrifying Scherzos. The groping introduction to the finale, with its rising figure in semitones, is remarkable in its modernity. The body of the movement, in fast tempo, is a hybrid of rondo and sonata forms with a Gypsy flavor, but without losing the basically tragic tenor of this great quintet.
Recording listened to: Artis Quartett with Stefan Vladar, piano, on Sony Classics (with the Piano Quintet by Schumann).

9. Giovanni Sgambati,  Piano Quintet No. 2 in B flat Major, Op. 5 (1867)
Giovanni Sgambati (1841-1914) was born in Rome, to an Italian father and an English mother, and worked as conductor, pianist and composer in that city. One of the rare symphonists in Italy that was even more "opera-crazy" than France, he was supported by Liszt, whose works he frequently performed. Sgambati's most famous composition is probably his Requiem, but he also wrote instrumental music, symphonies, a piano concerto and chamber music. He wrote his Second Piano Quintet shortly after he completed his successful first. The opening movement is launched by a viola phrase against an tonally advanced accompaniment, which was a few decades ahead of its time. The movement with its flexible sonata form encompasses many moods, even that of a cafe-serenade. The second movement is a Barcarolle on a truly haunting theme. The finale, Allegro vivace, is a full of excitement and good spirits. This is an original quintet brimming over with lovely melodies and unusual rhythmic effects.
Recording listened to: Ex Novo Quartet with Francesco Caramiello, piano, on ASV (with string quartet Op. 17).

10. Franz Lachner, Piano Quintet No 2 in A Minor Op 145 (1869)
Franz Lachner (1803-1890) was born into a musical family (also his brother Ignaz was a well-known composer) and trained in Munich. He served as Kapellmeister in Mannheim and Munich. Franz Lachner was a prolific and famous composer, influenced by Beethoven and especially Schubert whose close friend he was in his youth, but also one who has fallen inexplicably out of the repertoire (or perhaps not so inexplicable: Wagner consciously worked to damage the reputation of the conservative Lachner, as he wanted the sponsorship of the Bavarian King for his own music). His Second Piano Quintet became instantly popular after its publication in 1871. Despite the date in the late Romantic period, the music reminds us that Lachner was a child of the late Classical and early Romantic era. The first movement is an unusual "sonata rondo." The main theme with is double content of latent power and lyricism is first presented on the piano before the strings join in. This lovely music is dark rather than tragic. In the ensuing Adagio non troppo the strings state the beautiful first subject. This movement has an almost Italian feeling. In contrast, the Minuetto has a more Bavarian flavor. The middle section includes an enchanting song for the cello. The finale is a genuine Rondo. The first theme scintillates in the virtuoso piano like a wild race, while the second theme is brought forth cantabile in perfect string quartet fashion. The quintet closes with a whirlwind coda.
Recording listened to: Orchester-Akademie des Berliner Philharmonisches Orchesters on Thorofon (with Nonet by Lachner).

11. César Franck, Piano Quintet in F minor (1879)
César Franck (1822-1890) was born in Liège, Belgium, but he studied and worked all his life in Paris. He was influenced by Bach and Beethoven, but also by Liszt. Besides his orchestral works and organ pieces, Franck was also an important composer of chamber music. His Piano Quintet is generally considered as one of his chief achievements, although it also has been criticized for its "torrid emotional power." The music has a cyclical character whereby a motto theme of two four-bar phrases, used 18 times in the first movement, recurs at strategic points later in the quintet. The first movement opens with a drammatico introduction and the ensuing music could not be more passionate and rich in dynamic contrast. It was rumored that the passion of the quintet (which in contrast to other works by Franck has nothing religious about it) was inspired by Franck's love affair with his pupil Augusta Holmès. The second movement, Lento, offers some respite and consolation. The finale, Allegro non troppo ma con fuoco, is again filled with raw passionate intensity. The cyclic theme also returns, giving unity to the whole composition. The darkness of expression of this melancholy quintet has certain elements in common with the brooding, unsettled post-Romantic music of Schoenberg and Scriabin. It was too much for some of Franck's contemporaries: Saint-Saëns, to whom it was dedicated and who played the piano at the first performance, demonstratively left the score on the piano after the concert and seems to have discouraged its further performances. Today it is considered as one of the best piano quintets ever written.
Recording listened to: Ensemble César Franck on Koch Schwann.

12. Antonín Dvořák, Piano Quintet No. 2 in A Major, Op. 81 (1887).
The Czech nationalistic composer Antonín Dvořák (1841-1904) was active in all genres, from the symphony to opera and large-scale choral works, but he also wrote more than 30 chamber music works. His Second Piano Quintet belongs to the top of the canon and is a good fusion of Czech elements with an international musical language. It is a sunny quintet and the first movement possesses a particularly exuberant mood. The Romantic content with its impetuous interchanges of major and minor, emotion-laden harmonic modulations, organically related themes and protracted melodic lyricism is firmly lodged in the framework of a Classical sonata form. The Andante con moto is a Dumka in Slavic folk style, switching between melancholy and exuberance. Each time the Dumka melody returns its texture is further enriched. This movement adheres to the Classical Rondo form. The dazzling Scherzo has been modeled on a Bohemian Furiant with vital and springing rhythms. The Finale: Allegro keeps an unchanging pace throughout, despite the torrents of counterpoint, even fugue. It is in sonata-rondo form and comes to a close with a burst of brilliant energy.
Recording listened to: Emerson String Quartet with Menahem Pressler, piano, on Deutsche Gramophon (with Piano Quartet by Dvorak).

13. Ludwig Thuille, Piano Quintet No 2 in E Flat Major Op 20 (1901)
Ludwig Thuille (1861-1907) studied with Rheinberger in Munich where he himself became a teacher, of - among others - Ernest Bloch, Paul von Klenau and Walter Braunfels. He was a lifelong friend of Richard Strauss. Although he also composed symphonic works and opera, he concentrated on chamber music. The Piano Quintet No 2 has been called his greatest chamber achievement - its counterpoint and harmonic complexity are particularly skillful. The first sonata-form movement has a true symphonic sweep. This is followed by a passionate Adagio with desperate climaxes. The third movement is a sort of Ländler, but a rather aggressive one, to which the celestial trio forms a great contrast. The breathless Finale opens with a piano cadenza and culminates in the chorale-like melody from the second movement. A work of formal mastery and full of dramatic contrasts, that deserves to be heard more often.
Recording listened to: Gigli Quartet with Gianluca Luisi, piano, on Naxos (with Sextet).

14. Théodore Dubois, Quintet in F Major for violin, oboe, viola cello and piano (1905)
Théodore Dubois (1837-1924) studied at the Paris Conservatoire under Ambroise Thomas. Dubois was an important organist and also director of the Conservatoire. He composed mainly religious music, but also symphonies, concerts and chamber music. He also wrote important theoretical works on harmony and counterpoint. Although somewhat academic, his melodious and inventive music is unjustly forgotten, as will be clear from the present Quintet. With the addition of an oboe, the work has a rather unusual instrumentation, although the oboe can also be replaced by a second violin to have the traditional piano quintet ensemble. However, the work's interest lies very particularly in the way Dubois combines the timbre of the oboe with the string instruments. He favors the lower register of the oboe and has it project its tone over the ensemble in thematic passages. The first movement is joyful and optimistic. It is followed by an elegant Canzonetta. In the Adagio an expressive and emotional theme is contrasted with more objective material. The work concludes with a sparkling Allegro con fuoco. In accord with the cyclical tradition of the time, the principal themes of the previous movements return at the end of the work.
Recording listened to: Trio Hochelaga with Jean-Luc Plourde, alto, and Philippe Magnan, oboe, on ATMA Classique (with Piano Quartet by Dubois).

15. Gabriel Fauré, Piano Quintet No 1 in D Minor Op 89 (1906)
Gabriel Fauré (1845-1924) is the French master of chamber music, but also vocal music (a famous Requiem) and orchestral pieces, a pupil of Camille Saint-Saëns and later director of the Paris Conservatoire. Fauré wrote in a musical idiom all his own that was always fresh. The First Piano Quintet had a long gestation period, almost 20 years. The first movement is characterized by an austere and enigmatic mood: the opening theme is heard beneath a spray of piano arpeggios. This movement is an example of Fauré at his best, the parts intricately and seemingly effortlessly woven together into characteristic textures. It also has a song-like character. The Adagio has a basic binary structure and starts with the first violin floating above a descending cello line and the lyrical piano part. The finale features a strange archaic dance that keeps haunting the imagination long after the music has subsided. Fauré's music is unmistakably French with a strong kinship to both the urbane Romanticism of Franck and the cool sensuality of Debussy. He responded to the quasi-orchestral opportunities offered by the piano quintet with a wealth of inventiveness and melodic and harmonic inspiration. In 1921 Fauré published a second Piano Quintet that became even more famous than the present one.
Recording listened to: Domus with Anthony Marwood, violin, on Hyperion (with Piano Quintet No 2 by Fauré).

16. Adolphe Biarent, Piano Quintet in B minor (1913-14)
Adolphe Biarent (1871-1916) was born in Charleroi in Belgium and studied at the conservatories of Brussels and Ghent before becoming a music teacher in his hometown. As he died young and didn't work in one of the main European musical centers, he remained almost totally unknown, but has written some interesting music that was inspired by César Franck, especially the 1879 Quintet and Violin Sonata. The Piano Quintet is an dense and restless work, full of unsettledness and unease due to the constant tonal modulation. The first movement seems to have absorbed the usual second, slow movement. It is music that moves through various adventurous sections before arriving at a radiant B major. The tormented, central Intemezzo starts with an ominous piano figure. The powerful Finale is again an instrumental strife of light against dark. An intense and absorbing work.
Recording listened to: Quatuor Danel with Diane Andersen, piano, on Cypres (with cello Sonata). 

17. Louis Vierne, Piano Quintet in C Minor Op. 42 (1918)
Louis Vierne (1870-1937) was a French organist (student of Widor) and composer, who had a rather tragic life. From his birth, he was almost blind and he used Braille to compose. In WWI, he lost a brother and a son on the battle field. He died at the console of the organ of the Notre-Dame, when during an organ concert he suffered a stroke. Vierne mainly wrote organ music, but also chamber works and a symphony. The Piano Quintet was written as a musical votive offering in memory of the death in battle of his son Jacques. It is powerful music of vast proportions, but also with much tenderness. Vierne seems to have poured all his despair and anguish into the work. The first movement is opened by a short introduction played essentially on the piano, after which two very intense main themes grow in sublime sentiment, until ending in serenity. In the ensuing Larghetto the viola plays a sorrowful melody and tension lurks beneath the apparent calm. The finale alternates fugal sections with scherzo-like blasts of anger. It is a violent movement inspired by a sort of somber heroism, ending on powerful C Minor chords. A tragic, but dignified work.
Recording listened to: Quatuor Atheneum Tacchino with Gabriel Tacchino, piano, on Disques Pierre Verany (with String Quartet by Vierne).

18. Edward Elgar, Piano Quintet in A Minor Op 84 (1919)
Edward Elgar (1857-1934) is today one of the best known English composers. He was a violinist and organist; as composer he was self-taught. In Victorian and Edwardian England, he was an outsider both socially (as a Roman Catholic from a poor family) and musically (his musical influences were from continental Europe). Elgar is known for his large-scale oratorios and orchestral music, but he also left a fine body of more intimate chamber music. The Piano Quintet was written in 1918, when Elgar spent a peaceful summer in a cottage in Sussex. The first movement has been called "ghostly music," starting in a magical way by confronting a slow piano theme reflecting the plainsong "Salve Regina" with insistent stabbing strings. The second subject is a Spanish-sounding, languorous dance. The slow movement banishes all specters and spins on in an expansive and reassured way, a center of romantic stillness. But in the finale, which starts vigorously enough, the specters gradually return, undermining confidence, until blown away by the recapitulation of the handsome first theme. The quintet has been linked to a legend about some sinister, twisted trees standing near the cottage where Elgar stayed during composition: these were associated with a legend about Spanish monks struck by lightning while performing a blasphemous dance. An ambitious and expansive work.
Recording listened to: Coull String Quartet with Allan Schiller, piano, on ASV (with Piano Quintet in D Minor by Bridge).

19. Reynaldo Hahn, Piano Quintet in F Sharp Minor (1921)
Reynaldo Hahn (1874-1947) was born in Venezuela from a German-Jewish father and a Venezuelan mother of Spanish-Basque origin. Hahn’s family moved to Paris when he was three and he studied at the Conservatory under Massenet. The flamboyant Hahn drew his friends from a wide cultural circle and was, for example, a life-long friend (and one-time lover) of the famous writer Marcel Proust. Hahn was especially famous for his art songs on texts by Hugo and Verlaine. He also left an interesting body of chamber music, of which the piano quintet (although today forgotten) was the most popular item during his lifetime. It starts with a big-boned and dramatic movement, Molto agitato e con fuoco, brilliant and impressive music that deserves to be better known. This is followed by a pensive Andante, with the sun only briefly shining through the clouds. The final Allegretto grazioso is elegant and genteel, almost like a piece of Rococo music. In this quintet we are miles away from the Groupe des Six - instead, the work seems a continuation of the Belle Epoque, nourished by Classicism, but also full of elusive regret.
Recording listened to: Quatuor Parisii with Alexandre Tharaud, piano, on Naive (with two string quartets by Hahn, all world premiere recordings).

20. Jean Cras, Piano Quintet (1922)
Jean Cras (1879-1932) was a 20th-century French composer and career naval officer, rising to the rank of Rear Admiral. He was born in Brest (Brittany) and in his music was inspired both by his native area as well as his sea voyages and travels to Africa. Initially self-taught, in 1899 Cras had the opportunity to study with Henri Duparc. The Piano Quintet (which also exists in a version where one violin is replaced by the flute and the piano by the harp) was composed while at sea and shows this inspiration in the short program notes Cras wrote for it. The first movement is clear and joyous, "the intoxication of breathing pure sea air." There is a vaguely jazzy quality to it. The calm second movement represents the "intense poetry" of an evening in Africa. The animated third movement is a sort of scherzo, representing "the rich musical intensity of an Arab town." It contains a clear oriental chant. The vigorous and triumphant finale represents the return voyage, "liberated by the open space from the petty things of life." Romantic and impressionistic at the same time, this is wonderful music. Cras himself regarded chamber music as his forte, a "refined musical form that for me has become the most essential."
Recording listened to: Quatuor Louvigny with Alain Jacquon, piano, on Timpani (with String Quartet by Cras).

21. Ernest Bloch, Piano Quintet No. 1 (1923)
Ernest Bloch (1880-1959) was a Swiss-born American composer. Bloch studied at the conservatory of Brussels. In 1916 he moved to the United States, working in Cleveland and San Francisco, until finally becoming a lecturer at the University of California, Berkeley. His First Piano Quintet, one of his greatest achievements, was written in Cleveland in 1923. The first movement seems dictated by obstinate forces bursting with energy. Material in a grim tone brought in a somber whirl of the strings is contrasted with more reflective and meditative passages. To accentuate color in the chromatic glissandi even quarter tones are used. Although there is no program, the first motif seems based on a tune that for Bloch represented "revolt against arbitrary authority." This is followed by a dreamy, mystic and fantastic Andante. It is haunted music about "magical islands in the Pacific." The finale, Allegro energico, is full of barbaric frenzy, as of a wild joy, but interspersed with a quivering, mysterious meditation. We can hear bird calls, again in quarter tones. A majestic section of symphonic power then leads to a calm epilogue with a viola melody of liberating relaxation. One of the most dramatic chamber pieces ever written, a work of exceptional mastery.
Recording listened to: The Kocian Quartet with Ivan Klansky, piano, on Praga Digitals (with Piano Quintet No. 2).

22. Franz Schmidt, Piano Quintet in G Major (1926)
Franz Schmidt (1874-1939) was born in Pressburg (now Bratislava) from Hungarian parents. He studied with Fuchs and Bruckner at the Vienna Conservatory. For many years he played the cello in the Vienna Court Opera Orchestra under Gustav Mahler. In 1914 he became Professor of the piano at the Vienna Conservatory. Schmidt wrote in a late-Romantic idiom based on the Viennese classical tradition, and left four symphonies, two operas, an oratorio and a small body of fine chamber music. The Piano Quintet was written for the pianist Paul Wittgenstein, who had lost his right arm in WWI. The quintet has an unmistakable Viennese flavor. The concentrated first movement is followed by a lovely, good-natured Ländler. The third, slow movement also contains a bubbling dance and the Finale is in Rondo-form.
Recording listened to: The Vienna Philharmonia Quintet on Decca (with String Quintet by Bruckner).

23. Julius Röntgen: Piano Quintet in A minor op. 100 (1927)
German-born, Leipzig-educated Julius Röntgen was a crucial figure in the music life of his adopted city Amsterdam from 1878 to 1932. Röntgen composed more than 650 works, many of which survive only in manuscript; there is an overwhelming number of chamber works, including 14 piano trios, 16 string trios, over 20 string quartets, and three piano quintets - these works were often written to be played by Röntgen himself with musician friends (including Pablo Casals) and his family members. The first movement, Andante, of the present piano quintet starts with a soaring melody that is checked by a characteristic, persistent seesawing figure, that creates an apprehensive atmosphere. The melting sequences give the music an unforgettable character. Although there are echoes of Brahms in Röntgen's music, this is very different from conventional Romanticism as expectations are constantly undermined in a modern fashion. The second movement is a motoric Allegro. This is followed by a Lento after which the finale in the end brings us back to the opening theme of the first movement in a questing atmosphere. A sophisticated case of thematic integration.
Recording listened to: Arc Ensemble (Artists of the Royal Conservatory of Music, Canada) on RCA Red Seal (with other chamber music by Röntgen under the overall title "Right Through the Bone" an allusion to that other, more famous Röntgen).

24. Dmitri Shostakovich, Piano Quintet in G Minor Op. 57 (1940)
Dimitri Shostakovich (1906-1975) was one of the most important of 20th-century composers and much of his chamber music displays his genius at its highest level. His 1940 Piano Quintet is widely regarded as one of the greatest examples of its genre. It was premiered at the Moscow Conservatory by the Beethoven Quartet with Shostakovich at the piano. According to reports of his playing, the composer played with restraint, emphasizing the motoric elements and excluding  any emotional exaggeration. The work has five movements. After a Prelude led by an improvisatory flourish from the piano follows a long Adagio in the form of a four-voiced Fugue. It begins on muted strings and is played like an utterance from which all emotion has been drained. This is followed by a garish, whirlwind Scherzo, as we also know from Shostakovich' symphonies. The next movement is an unhurried Intermezzo, basically consisting of a single line of music over a gently walking bass. In the genial Allegretto finale previous ideas are recalled until the smiling music ends almost too gently on G major. This is a work of great emotional power and unusual purity, one of the best quintets ever written.
Recording listened to: The Borodin Trio with Mimi Zweig (violin) and Jerry Horner (viola) on Chandos (with Piano Trio No. 2).

25. Nikolai Medtner, Piano Quintet in C Major Op. Posth. (1949)
Nikolai Medtner (1880-1951), a younger contemporary of Rachmaninoff and Scriabin, studied at the Moscow Conservatory, among others under Taneyev. With the help of Rachmaninoff, Medtner left the Soviet Union in 1924; after a sojourn in Canada and the U.S., he finally settled down in England. Although he was an excellent pianist, he choose for a career as a composer. His works include piano sonatas, three piano concertos and chamber works. The Piano Quintet was published after the composer's death. Medtner considered it the ultimate summary of his musical life and worked on it throughout his life. It has an unusual structure, starting with a broad introduction on an epic theme. Then follows a section which reminds one of the Dies Irae. In contrast, the Maestoso section introduces a theme of hope. The second movement is characterized by a tragic but beautiful melody, rooted in music of the Russian Orthodox Church. The Finale forms a synthesis which sums up the whole work. It is written in very complicated sonata form and also demonstrates the mastery of counterpoint by Medtner. The coda brings a hymn that is full of light and joy.
Recording listened to: Dmitri Alexeev, piano, with the New Budapest Quartet on Hyperion (with Piano Concerto No. 1).
[Incorporates some information from the CD booklets, Wikipedia, etc. All images linked from Wikipedia. Some of the recommended CDs may not be available anymore (or the names of the labels may have changed)]
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September 25, 2015

Best Flute Concertos

The transverse flute (side-blown, in contrast to the recorder) is one of the oldest and most widely used wind instruments. In the Middle Ages (1000-1400) the transverse flute arrived in Germany and France from Asia via the Byzantine Empire. In this period, however, the recorder was by far more popular. In the late 15th c. the flute was taken up by military bands in Europe and in the late 16th c. transverse flutes began to be used in court and theatre music. In the 17th c. flutes also began appearing in chamber ensembles. Flutes in this period varied greatly in size and range. During the Baroque period, the transverse flute was redesigned. It was made in three or four joints with a conical bore from the head joint down. The conical bore design gave the instrument a wider range and a more penetrating sound, without sacrificing the softer, expressive qualities of the instrument. In addition to chamber music, the traverso began to be used in orchestral music, from opera and ballet to concertos. Although the flute became popular as a solo instrument, there were few professional flutists - often oboists acted also as flute players. In 1707, Jacques Martin Hotteterre wrote the first method book on playing the flute, followed by a famous exposition on the flute method by Johann Joachim Quantz in 1752. 

Throughout the rest of the century the interest in flutes increased, peaking in the beginning of the 19th century. This interest also led to the acceptance of flutes in the symphony orchestra. Theobald Boehm began flute making - among other changes, adding keys to the flute. But with the Romantic era, flutes begin to lose favor (except as an instrument for home music) - there are almost no flute concertos written in the later 19th century. The instrument became again more popular in the early 20th century, for example among Impressionistic composers as Debussy. But although the flute was used more prominently in orchestral music, flute concertos remained rare even in the 20th century. The period during which most flute concertos were written was squarely the 18th century, from the Late Baroque to the Classical period.

1. Georg Philipp Telemann, Concerto for Transverse Flute, Strings and Basso Continuo in D Major, TWV 51:D2 (ca. 1716-1725).
It was in Telemann's concertos that, among other instruments, the new transverse flute - soon to be made fashionable by the galant style - first broke free of the soft-spoken confines of chamber music and proved itself capable of dominating an orchestra as solo instrument. Although conforming to the pattern of the Italian church sonata with its four movements in two pairs of slow-fast-slow-fast, Telemann drew on a wide variety of traditions and influences, with a strong whiff of France mixed in. But Telemann was above all a strong experimenter, both in what he asked from his solo instruments, as in his mixing of the colors of the orchestral palette. He eschews the Italian three-movement model of fast-slow-fast, and adheres to the German layout of four movements: slow-fast-slow-fast. The present concerto is fast-paced and allows the soloist ample scope.
Recording listened to: Wilbert Hazelzet, flute, with Musica Antiqua Koln directed by Reinhard Goebel (on authentic instruments) on Archiv (with five Telemann concertos for other wind instruments).

2. Leonardo Leo, Concerto for flute no 2 in G Major (probably after 1725).
Leonardo Leo (1694-1744) was a Neapolitan composer in the first place famous for his operas and sacred music, but he has also left an interesting body of instrumental works. As a graduate of the Naples conservatory, his style was founded on a mastery of counterpoint, but in his flute concertos he writes first and for all in the galant style. In early 17th c. Naples, flute music was popular in the mansions of the aristocracy and the city produced many virtuosi as well (often doubling on the flute and oboe). One factor in the popularity of the flute may have been the brief visit Johann Joachim Quantz (see below) made to Naples in 1725. Leo's second concerto starts with a solemn introduction marked "spacious in the French manner," adopting a stately dotted-rhythm after the style of a French overture. The Adagio boasts a highly expressive theme, consisting of a dialogue between flute and solo violin. The finale is delightfully fresh and dance-like. Leo's concerto is typical of the music of Naples, a city where composers were committed to making artifice and difficulty appear natural and simple.
Recording listened to: Enrico di Felice with L'Apotheose on Stradivarius (with other Neapolitan flute concertos).

3. Antonio Vivaldi, Concerto in C Major for Two Flutes, RV 533 (probably 1730s).
Despite the fame of his 6 concertos Opus 10, published in Amsterdam in 1728, Antonio Vivaldi (1678-1741) was not a frequent composer for the flute. The two most famous concertos of Op 10, "Storm at Sea" and "The Night" were almost certainly written for the recorder. In fact, the orphanage-conservatoire for girls in Venice where Vivaldi worked, only acquired its first flute teacher, Ignazio Silber, in 1728, so relatively late in Vivaldi's career; and Vivaldi's first known use of the flute occurs in his opera Orlando from 1727. So his RV 533 that I have selected here, must be a late concerto. The fast-paced opening movement has an infectious energy. The slow movement is characterized by gentle simplicity and in the finale the energy returns with the flutes playing a sprightly melody against a rhythmically punchy bass-line. Interesting is the way Vivaldi handles the two flute parts: (1) in dialogue with minimal overlap of phrases, (2) imitating one another, (3) one instrument providing an accompaniment for the other and (4) both playing in parallel thirds or sixths. Vivaldi constantly interchanges these modes to achieve variety.
Recording listened to: Vivaldi Concertos by The Academy of Ancient Music directed by Christopher Hogwood (on authentic instruments) on L'Oiseau-Lyre (with other Vivaldi concertos).

4. Michel Blavet, Flute Concerto in A minor (1745). 
Michel Blavet (1700-68) was the foremost French flute virtuoso in the first half of the 18th c. He had an exciting and brilliant style of playing which was very different from the languorous manner previously dominant on the flute, for example in the works of Hotteterre. Blavet played in the Concert Spirituel and later in the Musique du Roi and at the opera. He also played quartets with Telemann when that composer visited Paris and became friendly with Quantz as well. He later turned down a post at Frederick the Great's court despite the high pay offered him. Blavet's compositions show an Italian influence. For the flute he composed twelve sonatas, six duos and concertos as well as arrangements for teaching. The first and last movement of the present concerto are in Italian style, the middle movement is a pair of French gavottes.
Recording listened to: Andreas Kröper, flute, and the Concertino Notturno Prague (on authentic instruments) on Campion (with concertos by Frederick the Great and Wendling).

5. Johann Joachim Quantz, Concerto for Flute in G Major (QV 5:174, No. 161 (1740-1750).
Johann Joachim Quantz (1697-1773) was a German flutist and composer. He composed 200 flute sonatas and 300 flute concertos, and wrote an important and exhaustive treatise on flute performance (1752). From 1728 he taught King Frederick II of Prussia, an eminent flutist, and moved to the court in Berlin in 1741 after Frederick became King of Prussia. In Berlin, Quantz' duties revolved around the king's private evening concerts, where the repertoire consisted for a large part of works by Quantz and Frederick himself. The Berlin style was characterized by an exceptionally refined use of dynamics and articulation. The heart of the present concerto, one of the best known by Quantz, is the magnificent slow movement, clearly demonstrating the originality and inventiveness of the composer.
Recording listened to: Benedek Csalog, baroque flute, and Aura Musicale directed by Balazs Mate (on authentic instruments) on Hungaroton (with three more flute concertos by Quantz).

6. Carl Philipp Emmanuel Bach, Flute Concerto in D Minor, Wq 22 (possibly around 1747).
Carl Philip Emanuel Bach (1714-1788) was the second (surviving) son of J.S. Bach and is known for his expressive and often turbulent "empfindsamer Stil" or "sensitive style." It is a mannered galant style in which the principles of rhetoric and drama were applied to musical structures. C.P.E. Bach, who was one of the foremost clavier players of Europe (he wrote a famous book on music theory and ethics in 1753), was from 1738 to 1768 in the employment of Frederick the Great in Berlin; from 1768 to 1788 he worked as successor to Telemann as music director in Hamburg. But C.P.E. Bach was not very popular at the Berlin court (proud of his university education, he was frequently seen in intellectual circles and made no concessions in his compositions to make them easier to play for the king) - his salary was only a fraction of that of Quantz or Graun. The first movement of the present concerto, which also exists in a harpsichord version, shows the influence of J.S. Bach, especially in the orchestral introduction. In contrast, the third movement has real Strum und Drang characteristics. Bach has the flute perform a true dialogue with the orchestra, providing a link to the Classical solo concerto.
Recording listened to: Machiko Takahashi with the Concertgebouw Chamber Orchestra conducted by Roland Kieft on Brilliant Classics.

7. Frederick the Great (Frederick II, King of Prussia), Flute Concerto No. 1 in G Major (possibly 1750s or later)
The German monarch Frederick the Great (1712-1786) was a patron of music as well as a gifted player of the transverse flute and composer. His compositions include 121 flute sonatas and 4 concertos modeled on the works of Johann Joachim Quantz, the German flutist and composer who became one of Frederick's court musicians and who wrote many flute sonatas and concertos for his royal patron. Besides Quantz, the king's court musicians also included C. P. E. Bach (who was the king's accompanist on the harpsichord and who also wrote flute concertos for him), Carl Heinrich Graun and Franz Benda. A meeting with Johann Sebastian Bach in 1747 in Potsdam led to Bach's writing The Musical Offering. Frederick's palace, Sans Souci near Potsdam, became a focus of high-quality music making. King Frederick's own compositions possess a gentle charm, as is especially evident from the Cantabile movement of the present concerto. The concerto is a fusion of early-Classical galant and Italian late-Baroque styles and the fast movements consist of an alternation of tutti ritornellos and solo episodes. It is conservative in keeping strictly to the rules laid down in Quantz' treatise on the flute from 1752, but the second movement shows more individuality.
Recording listened to: Andreas Kröper, flute, and the Concertino Notturno Prague (on authentic instruments) on Campion (with concertos by Frederick the Great and Wendling).

8. Franz Xavier Richter, Flute Concerto in E Minor (probably between 1747 and 1768).
Franz Xavier Richter (1709-89) was an Austro-Moravian violinist and composer, who spent most of his life first in Austria and later in Mannheim and in Strasbourg. Although of an older generation, he belonged to the so-called Mannheim School, known for its pioneering orchestral technique, developed together with the excellent Mannheim court orchestra. Richter did not write in the Storm-and-stress style of his colleagues, but the basic feature of his music was a soft-toned meditativeness, often with a hint of melancholy. His music is always well-balanced. The present flute concerto is a typical example of the transitional forms of the Mannheim composers between the Baroque and Viennese Classicism. It is still based on the traditional ritornello technique of the concerto grosso, but also introduces a new element of orchestral thematic design in its sequences of contrasting motifs - a step towards the thematic dualism of the classical sonata form. Another harbinger of the future is the tripartite design of the outer movements, which would become the sequence of exposition, development and recapitulation of the classical style.
Recording listened to: Robert Dohn with the Slovak Chamber Orchestra conducted by Bohdan Warchal on CPO (with other wind concertos by Richter). 

9. Wolfgang Amadeus Mozart, Concerto in G for Flute and Orchestra, K 313 (1777)
Wolfgang Amadeus Mozart (1756-91) wrote this concerto after receiving a commission to compose three flute concertos and a pair of flute quartets from Ferdinand Dejean, a surgeon with the Dutch East India Company. Mozart met Dejean in Mannheim in October 1777 and was to receive 200 guilders for the works. In the end, however, he didn't complete the commission - he only wrote one original concerto and one quartet (besides reworking the oboe concerto he wrote the previous year for the flute) and received less than half the promised sum. The most substantial fruit of that commission is the present flute concerto, a long and difficult work that starts with a movement of great breath (maestoso) and fine writing for the flute. The Adagio ma non troppo has been called the soul of the concerto, with a melting melodic line that is one of the jewels of Mozart's early maturity. The concerto concludes with a decorous minuet in rondo form.
Recording listened to: Liza Beznosiuk, flute, and The Academy of Ancient Music directed by Christopher Hogwood (on authentic instruments) on L'Oiseau-Lyre.

10. Franz Anton Hoffmeister, Flute Concerto No 24 in D Major (1795).
Franz Anton Hoffmeister (1754-1812) was not only a prolific composer, but also a significant music publisher for Mozart and Beethoven. Born in southern Germany, Hoffmeister had come to Vienna to study law, but soon switched to music and by the 1780s had become one of the city's most popular composers. Prominent in Hoffmeister’s extensive oeuvre are works for the flute, including more than 25 concertos as well as chamber works. These works were composed with Vienna’s growing number of amateur musicians in mind, for whom the flute was one of the most favored instruments. The present concerto has a radiant and march-like character, also thanks to the use of trumpets and timpani in the orchestra. It starts with a graceful main theme. The first movement has symphonic dimensions and also calls for virtuosity from the orchestra, for example in the use of a "Mannheim crescendo." Hoffmeister used an alla polacca texture in the slow movement, with the usual strong accent on the downbeat of each bar. The final rondo is full of festive splendor, spotlighting the soloist's virtuosity.
Recording listened to: Bruno Meier, flute, with the Prague Chamber Orchestra on Naxos.

11. Friedrich Witt, Flute Concerto in G Major (1806)
Friedrich Witt (1770–1836) was a German composer who worked most of his life as Kapellmeister for the Prince of Würzburg. He was famous for his operas and the oratorio Der leidende Heiland, but also wrote symphonies, concertos and chamber music. His Symphony in C Major, the Jena, was once wrongly attributed to his exact contemporary Beethoven, with whom (as well as with the later Haydn) Witt shares certain characteristics of the period style. Witt's Flute Concerto is a work that demands considerable virtuosity from the soloist. The substantial orchestra includes trumpets and timpani, and the concerto starts in grand style with an orchestral introduction. After that, the solo flute introduces an elaborate first subject, leading to a second theme and other material offering every chance for technical display. The second movement is a lovely Adagio cantabile, and the concluding Rondo has a lively principal theme.
Recording listened to: Patrick Gallois with the Sinfonia Finlandia Jyväskylä on Naxos (with two symphonies by Witt).

12. Saverio Mercadante, Flute Concerto in E Minor No. 2 (1814)
Saverio Mercadante (1895-1870) was an Italian opera composer whose 60 operas today stand rather in the shadow of his contemporaries Donizetti and Bellini, although he was admired by Verdi as groundbreaking composer. Besides operas, Mercadante also wrote sacred music and concertos and chamber music featuring the flute. These last works date from the years 1814 to 1820 and were inspired by fellow conservatoire students and their virtuoso teachers. There are in all seven flute concertos; the one in E Minor (No. 2) is probably the most popular one and includes a sizable orchestra. The concerto is permeated with a rich bel canto lyricism, as if the flute were a singer in one of Mercadante's operas. At the same time, the concerto is a showpiece for the agility of the soloist and the possibilities of the flute. It starts with an Allegro maestoso, very demanding in virtuoso terms, after which follows a breathing space in the short Adagio. The finale is a Rondo russo: Alla giusto and this is indeed a bright and lovely dance with a Russian flavor, a favorite piece among flutists and the highlight of the present concerto.
Recording listened to: Patrick Gallois with the Sinfonia Finlandia Jyväskylä on Naxos (with flute concertos No 1 and No 4).

13. Alessandro Rolla, Concerto in D Major for Flute and Orchestra (probably around 1830)
Allessandro Rolla (1757-1841) worked for most of his life in Milan as violin and viola virtuoso, conductor, teacher and composer. In 1808 he became professor at the new Conservatoire of Music in Milan. He is known as the teacher of Paganini, but also left a considerable body of 500 compositions, which were published by music houses all over Europe. The flute concerto is a fine example of an instrumental work written in the first half of the 19th century, when the main attractions for Italians were the voice and the theater. The soloist is treated virtuosically. The Allegro starts with a slow introduction, after which the flute takes up a bright theme. This whole movement has a sprightly atmosphere. The second movement is a short and simple Adagio, after which the concerto concludes with a Rondo variato, which demonstrates great inventiveness.
Recording listened to: Mario Carbotta with the Orchestra da Camera Milano Classica conducted by Massimiliano Caldi on Dynamic (with Concerto for Basset Horn and two symphonies by Rolla).

14. Peter Benoit, Flute Concerto (Symphonic Tale) Op. 43a (1865).
Peter Benoit (1834-1901) was a Belgian (Flemish) composer, who was educated at the Brussels Conservatoire. Although he also worked in Paris, he finally settled in Antwerp where he founded the Royal Flemish Music Conservatory. He concentrated on vocal and choral music on Flemish texts, but was also active as educator, conductor and music administrator. In 1865 Benoit wrote Two Symphonic Tales for piano and orchestra and for flute and orchestra - a turning point in his career, as these would become his last purely instrumental works. Both are large scale, romantic works, inspired by romantic legends from the composer's native region. The Symphonic Tale for flute and orchestra starts with a "Will-O'-The-Wisps" Scherzo vivace, containing two main themes, a nervous and fiery scherzo theme and a more lilting melody. The second movement is a Romance that starts with a horn solo theme, varied by the flute. The finale is again a "Will-O'-The-Wisps" dance, similar to the opening movement. In all, this is a very original concerto.
Recording listened to: Gaby van Riet with the Royal Flanders Philharmonic Orchestra conducted by Frederic Devreese on Naxos (with piano concerto etc.).

15. Carl Reinecke, Flute Concerto Op. 283 (1908)
Carl Reinecke (1824-1910) was an important master from the influential "Leipzig School," which dominated German music in the 19th c. He was a long-standing conductor of the Gewandhaus Orchestra and director of the Leipzig Conservatoire, but also a prolific composer who saw himself as the guardian of the tradition of Mendelssohn and Schumann. The flute concerto was written when he was 84 and starts with a charming, floridly inventive Allegro, a glowing recollection of what was good in previous times. This is followed by an elegiac Lento e mestoso, a piece of both charm and substance, and the concerto concludes with  a fiery polonaise. A lively work that fully displays Reinecke's striking invention, beauty of sound, and mastery of instrumentation.
Recording listened to: Aurèle Nicolet with the Leipzig Gewandhaus Orchestra conducted by Kurt Masur on Philips (with flute concertos by Nielsen and Busoni).

16. Carl Nielsen, Concerto for Flute FS 119 (1926)
Carl Nielsen (1865-1931) studied at the Royal Danish Academy of Music in Copenhagen, after which he worked for 16 years as a second violinist in the prestigious Royal Danish Orchestra before - in 1916 - taking up a teaching post at the Royal Academy. He is generally regarded as the greatest Danish composer and was one of the most important pioneers of new music in the early 20th c. His monumentally expressive symphonies derive from a neo-Romantic inspiration. The flute concerto was written after the symphonies, and belongs to a later period in Nielsen's life. It reflects the modernistic trends of the 1920s and lacks tonal stability. The work consists of two movements and the solo instrument dominates the dark colors of the orchestra (which lacks flutes and trumpets). The first movement leads up to a virtuoso double cadenza for flute and clarinet (in this same period, Nielsen also wrote a Clarinet Concerto). Much of this movement resembles chamber music between the flute and various instruments. The second movement is founded on the contrasting expression of allegretto and adagio sections, leading to a march-like finale. The works ends with a series of playful slides on the bass trombone. A very personal statement and possibly the greatest flute concerto ever written - a work of real substance.
Recording listened to: Aurèle Nicolet with the Leipzig Gewandhaus Orchestra conducted by Kurt Masur on Philips (with flute concertos by Reinecke and Busoni).

17. Jacques Ibert, Concerto for Flute (1934)
Jacques Ibert (1890-1962), a born and bred Parisian, studied at the Paris Conservatoire and had an active career as conductor and musical administrator, besides being an eclectic composer. His early works for orchestra are in a lush, Impressionistic style, but Ibert also wrote lighthearted, even fluffy works like the present flute concerto. His music is generally festive and gay, tinged with lyricism and gentle humor. Like his other four concertos, the flute concerto was conceived in "chamber" rather than "symphonic" textures, allowing the characteristics of the flute to emerge unimpeded. Ibert strove to find themes appropriate to the sonorous qualities of the flute. The flute concerto is a mercurial three movement work, that became immediately popular on its first performance in 1934. Especially the third movement is very felicitous and just good fun.
Recording listened to: Timothy Hutchins with the Montreal Symphony Orchestra conducted by Charles Dutoit on Decca (with Escales, Pairs, Bacchanale).

[Incorporates some information from the CD booklets, Wikipedia, etc. All images linked from Wikipedia. Some of the recommended CDs may not be available anymore (or the names of the labels may have changed]
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