September / October 2016

Eduard Franck's String Sextets

Eduard Franck (1817-1893) was born in Breslau, the capital of the Prussian province of Silesia. He was the fourth child of a wealthy and cultivated banker who exposed his children to the best and brightest that Germany had to offer. Frequenters to the Franck home included such luminaries as Heine, Humboldt, Heller, Mendelssohn, and Wagner. His family’s financial position allowed Franck to study with Mendelssohn as a private student in Dusseldorf and later in Leipzig. As a talented pianist, he embarked upon a dual career as a concert artist and teacher for more than four decades during the course of which he held many positions. Although he was highly regarded as both a teacher and performer, he never achieved the public recognition of his better known contemporaries such as Mendelssohn, Schumann or Liszt. As fine a pianist as the first two and perhaps even a better teacher, the fact that he failed to publish very many of his compositions until toward the end of his life, in part, explains why he was not better known. Said to be a perfectionist, he continually delayed releasing his works until they were polished to his demanding standards. Schumann, among others, thought quite highly of the few works he did publish during the first part of his life. His chamber music must be ranked amongst his finest compositions. Wilhelm Altmann, the important chamber music in writing of Franck’s chamber music noted that his works did not deserve the neglect which had befallen them as they show a mastery of form, a lively imagination and fine and attractive ideas.

He wrote two string sextets. String Sextet No.1 in E flat Major, Op.41 was published in 1882. In this sparkling work, we are never far from the influence of Franck's great teacher and inspiration, Mendelssohn. This influence shows itself not only melodically but also in the lightness of touch which Franck employs. It stands in stark contrast to the heavy, full-bodied sextet writing of Brahms. Here, we find clarity of line and a surprising weightlessness, especially for an ensemble two thirds of which are lower voices. Yet at the same time, Franck differs from Mendelssohn in how he makes the most of the sonic possibilities of a large ensemble. The opening theme to the first movement, Allegro, is genial and somewhat relaxed. But slowly tension is built, primarily by means of the rustling notes which are passed from voice to voice. A very Mendelssohnian technique. The quiet second movement, Andante, ticks along peacefully until the first violin brings forth a melody of extraordinary beauty. Next comes a lively and energetic scherzo, followed by an exciting finale, Presto, which is filled with élan and fetching melodies. This is a first rate work which would go well with the heavier Brahms sextets.

String Sextet No.2 in D Major, Op.50 was not published until after the composer’s death with the result that the proofs were not carefully checked and it was printed with serious errors, including missing measures. Edition Silvertrust's revised edition has corrected these problems. The Second Sextet, though it shows some of Mendelssohn’s influence, has much less than the first.  The opening Allegro is spacious and written on a large scale. The elegiac second movement, Adagio molto espressivo e sostenuto, is truly superb. The third movement, Allegro, is a masterful scherzo which starts heavily but evolves into an elves dance. It is in the finale, that Franck presents a tribute to Mendelssohn, but this cannot take away from the fact that it is an effective tribute. Another first rate sextet to investigate.

Both of these string sextets are important works which belong in the repertoire which is not exactly huge. We recommend string sextet parties to try them. You will not be disappointed. You can hear soundbites from each movement on our website and if you desire purchase the parts from Edition Silvertrust by clicking on the links above.