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Goldmark: Piano Quintets / Triendl, Quatuor Sine Nomine

Release Date: 09/30/2008 
Label:  Cpo   Catalog #: 777277   Spars Code: n/a 
Composer:  Karl Goldmark
Performer:  Oliver Triendl
Orchestra/Ensemble:  Sine Nomine String Quartet
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 15 Mins. 

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Notes and Editorial Reviews

If not for the predominantly square rhythms and repetitive-to-a-fault main theme, you might mistake the full textures and imitative writing in the first movement of Karl Goldmark's 1879 B-flat Piano Quintet for Brahms. Still, a singular compositional voice begins to emerge in the development section's sustained string solos surrounded by rapid piano filigree, as well as in the recapitulation's modulatory twists and turns. The long Adagio begins with a poignant cello feature and gradually gains contrapuntal and expressive complexity as it progresses. Some might liken the Ländler-like Scherzo's obsessive dotted rhythms to those of Schumann; perhaps its earthy melodic charm resonates in more Schubertian terms. If the spirited finale goes Read more on a bit long in proportion to its musical content, the syncopated accents on unresolved chords keep our attention from wandering.

The C-sharp minor Piano Quintet dates from the end of the composer's long life, and it proves a far more interesting, texturally varied, and musically wide-ranging piece, from the first movement's jagged urgency and the Adagio's gorgeously unfolding long lines to the third movement's Hungarian Dance breakouts and the finale's jaunty, narrative drive and weird thematic allusions to "Hail To The Chief".

The Quatuor Sine Nomine members aim for all the tonal variety they can muster in these works, even when both violinists occasionally push their vibratos into cloying territory. The ensemble's kinetic interaction with Oliver Treindl's rock-solid and imaginatively-shaded keyboard work certainly will please collectors who know the pianist's other CPO releases devoted to other chamber rarities of the Romantic Era. As is often the case, CPO's co-production with Bayerischer Rudfunk yields superb sonics, although the German booklet notes' English translation leaves a lot to be desired. Warmly recommended.

--Jed Distler, ClassicsToday.com
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Works on This Recording

Quintet for Piano and Strings in B flat major, Op. 30 by Karl Goldmark
Performer:  Oliver Triendl (Piano)
Orchestra/Ensemble:  Sine Nomine String Quartet
Period: Romantic 
Written: 1879 
Quintet for Piano and Strings in C sharp minor, Op. 54 by Karl Goldmark
Performer:  Oliver Triendl (Piano)
Orchestra/Ensemble:  Sine Nomine String Quartet
Period: Romantic 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Bravo! December 26, 2017 By Henry S. (Springfield, VA) See All My Reviews "The more I listen to chamber music, the more I appreciate the addition of a piano to a small string ensemble, resulting in the opening up of a whole new dimension in this genre of classical music. Whether it is a piano trio, piano quartet, or in this case a piano quintet, this combination always seems to produce music that sparkles and immediately engages the listener with its distinct sound world. In other words, it works! CPO's recording of Karl Goldmark's piano quintets (B Flat Major, Op. 30 and C Sharp Minor, Op. 54) perfectly exemplifies these characteristics. Separated by a span of 37 years between 1879 and 1916, both works nevertheless contain supremely attractive thematic material and what I senses as a lively, optimistic, and even carefree spirit at work through Goldmark's pen. As for the performers, Switzerland's Sine Nomine Quartet and pianist Oliver Triendl play these quintets with gusto and razor-sharp precision. At times the piano competes against the strings in a friendly contrapuntal debate; at other times, they join forces to burn the various melodies indelibly into the listener's consciousness, the way all good music should. It should be obvious that I thoroughly enjoyed this recording, and I can recommend it with no hesitation. The one criticism I have is probably trivial and only tangentially related to Karl Goldmark's music,and that is the rather overbearing, elitist, and altogether pompous English translation of the CD notes, originally written in German by a musicologist who apparently fancied writing for an audience that knows the technical intricacies of chamber music at his level (I don't). Not only that, but the essay failed to stay on focus and spent far too much time discussing esoteric topics with undertones of narcissism that did (and do) little or nothing to enhance one's understanding of Karl Goldmark. Therefore I found the essay contained in the CD booklet to be of very limited value. Fortunately, this is a very minor consideration; overall, this music is just great and deserves a listen for sure. I think any one who values good chamber music will agree." Report Abuse
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