July / August 2015

Friedrich Gernsheim's String Quartets

Friedrich Gernsheim (1839-1916) is a composer whose music was held in the highest regard by critics during his lifetime. No less an authority than Wilhelm Altmann, perhaps the most important chamber music critic of all time, writes in his Handbuch für Streichquartettspieler that Gernsheim’s quartets are poetic and of a high intellectual content. But Gernsheim also had the misfortune to be born within 6 years of Brahms. A misfortune because, in what is surely an extraordinary phenomenon, virtually every composer in the German-speaking countries born within a decade either side of Brahms were so eclipsed by him that their reputation and music virtually disappeared when that era was over. Names such as Rheinberger, Reinecke, Kiel, Bruch, Dessoff, and Herzogenberg, among many others, come to mind. Gernsheim, somewhat of a piano and violin virtuoso as a child, was eventually educated at the famous Leipzig Conservatory where he studied piano with Ignaz Moscheles and violin with Ferdinand David. During the course of his life, he held academic and conducting positions in Cologne, Rotterdam and finally Berlin. He used his position as a conductor to advance the cause of Brahms’ music. The two, while not close friends, carried on a correspondence for many years during which it was clear that Brahms had considerable respect and admiration for Gernsheim’s work. An accolade which was, in Brahms’ case, no mere flattery as Brahms only very rarely praised the works of other composers.

Gernsheim's First Quartet, dates from 1871. The lyrical main theme is extraordinarily beautiful and makes an even deeper impression because of his use of rhythm. The second movement, an Andante con moto, is a lament, a song without words. The third movement, Allegro, is a scherzo which which captivates by means of its rhythm, while melody of the trio section brings a sense of urgency. The climax of the quartet is its finale, subtitled Rondo all'Ongarese--Allegro molto vivace. In true Hungarian style, Gernsheim alters the tempo from slow to presto to prestissimo with great effect. All of the themes are typically Hungarian and provide a fine contrast with each other.

String Quartet No.2 in a minor, Op.31 was published in 1875. The first movement, Allegro, characterized by its elegiac mood of restless energy, and while the music, in parts, shows the influence of Brahms it nevertheless is fresh sounding. A lovely Adagio follows. The passionate middle section is especially impressive. Next is a muscular and very dramatic scherzo, Molto vivace ed energico, of which the second theme is especially fine. A short, dreamy trio section releases the tension and provides excellent contrast. The rhythmic finale, Allegro moderato e molto energico, seems to begin where the scherzo has left off—it almost seems part of the same movement right down to the introduction of the lovely and lyrical second theme. There is also an ingenious fugal section in the middle of this captivating movement.

Gernsheim's Third String Quartet was composed in 1885. In form, it might well be called a Phantasy Quartet. The lyrical main theme to the first movement, Allegro, is emotionally charged. The second movement, though marked Allegro scherzando, is in reality a very beautiful, rich Intermezzo. The lively trio section is actually quicker in tempo than the main part. The the slow movements to Schumann's Op.41 No.1 and 3 may well have served as models for Gernsheim's own slow movement, Andante molto cantabile. A very artistic Theme and Variations serves as the quartet's finale.

Gernsheim's Fourth Quartet was composed in 1899 and published in 1900. The thematic material and other aspects are particularly fine. The main theme of the opening movement, Allegro ma molto moderato ed espresso, immediately makes a strong impression while the lyrical second subject is more introspective. The Allegretto scherzando, ma non troppo vivo e sempre molto leggiero which comes next is a highly spirited, piccant-sounding scherzo with a trio that has a charming melody full of feeling. A particularly captivating Theme and Variations (Andante grave) serves as the third movement. The use of tone color is particularly striking. The finale, Allegro con brio, begins in the fashion of a quick military march. The middle section is calmer but full of warmth.

String Quartet No.5 dates from 1911 and is a really astonishing work, especially in view of the fact that the composer was then 72 years old. The first movement, Allegro non troppo, is built on two very melodious and engaging themes. A very original scherzo, Molto vivace, follows. It has the aura of program music in that it strongly brings to mind ghosts and spirits and breezes whispering through leaves. The trio section, a vigorous march, comes as a great surprise and provides excellent contrast. The slow movement, Andante, is quite fine. The themes have real distinction. The finale, Allegro vivace, is a dashing movement. The first subject resembles a whirling, playful arabesque. The second subject is even more original with its unusual rhythmic and tonal effects.

No quartet player should miss the opportunity to play and become familiar with these works. They are really the equal of any of the contemporary works from the time. Full of appealing melodies, superb part-writing and original ideas, it is hard to understand how they fell into oblivion and are no longer presented on the concert stage. You can hear soundbites from each movement on our website and the parts are available from Edition Silvertrust.