July / August 2015

Robert Kahn's Piano Trios

Robert Kahn (1865-1951) was born in Mannheim of a well-to-do banking family. He began his studies at the Hochschule für Musik in Berlin. There, he got to know and became friends with Joseph Joachim who was the director. It was through both Joachim and his own family that he had a chance to get to know Brahms, who was so impressed with Kahn that he offered to give him composition lessons. However, Kahn was too overawed to accept. Nevertheless, Brahms did help Kahn informally, and while Kahn's work does, to some extent, show the influence of Brahms, he is an eclectic and independent composer whose music has its own originality. After finishing his studies in Berlin, Kahn, on Brahms' suggestion, went to Munich to study with Joseph Rheinberger. After completing his own studies, he worked for a while as a free lance composer before obtaining a position at the Hochschule in Berlin where he eventually became a professor of piano and composition.

Robert Kahn’s Piano Trio No.1 in E Major, Op.19 appeared in 1893. One can hear the influence of Mendelssohn because the highly poetic music drips with gorgeous melodies, especially in the opening Allegro. It is hard to imagine more attractive and appealing melodies than what finds herein. The middle movement, Andante, is a sweet Album Book (Albumblatt) and can be likened to a lovers’ duet. In the middle section we find dramatic turbulence and unrest. The finale, with its fire and rhythmic drive, fits the movement’s marking, Allegro con fuoco. This is a very appealing work which certainly belongs in the standard repertoire but is also very suitable for amateur players,

Kahn’s Piano Trio No.2 in E flat Major, Op.33 appeared in 1900. The first movement, Allegro, opens in a jovial mood. The unusually fresh main theme is immediately pleasing and its development is superbly done. It is followed by a delicate and more lyrical second subject. Of particular note is the beautiful triplet accompaniment. The remarkable and poignant second movement, Andante sostenuto, begins in a funereal vein, its lovely melody creates an air of resignation. The finale, Allegretto vivace, is in rondo form and full of forward motion with a vivace coda. Here is another very concert worthy trio and again in no way beyond amateur players.

Piano Trio No.3 in c minor was published in 1902. It is concise in form. The first movement, Moderato, begins with a solemn, elegiac introduction and leads to the main section, Allegro energetico. Its excellent main theme impresses by virtue of its sharp rhythmic passages. The second movement, Allegro moderato, has a quicker middle section. It comes close but is not quite a scherzo. The music has a ghostly quality and is full of spirited ideas. In some ways, the music reminds one of a similar movement in Beethoven's Op.70 No.2 Ghost Trio. The finale begins with a long, captivating, melodic introduction. which slowly by stages leads to the attractive main section, Allegro appassionato. First rate all the way. Good for concert and home.

Robert Kahn’s Piano Trio No.4 in e minor, which appeared in 1922, clearly demonstrates his superb compositional talent and creativity. The music is appealing, always noble, full of original rhythmic touches and fetching melody.. In short, this is an extraordinarily fine sounding work. The trio is in five concise movements. While all of the movements are first rate, I find the third movement, Adagio non troppo, and the fourth, a charming intermezzo, Allegretto non troppo, are absolutely superb and leave nothing to be desired. But the other three movements are also extremely effective. A very fine work deserving regular concert performance and like the others, presenting no difficulties that experienced amateurs could not handle.

Kahn also wrote a trio which was originally for clarinet, cello and piano. However, his publisher, with a view toward increased sales, asked him to also supply a violin part which could be substituted for the clarinet. This he did. The Trio in g minor, Op.45 dates from 1906. The opening Allegro has a mellow, but darkly subdued melody given out by the clarinet. But when the cello enters, the passion, which has hidden just below the surface, breaks out. The middle movement, Allegretto quasi andantino, is a genial, somewhat dreamy intermezzo. The finale, though marked Presto, has many different tempi within it. It begins with a brief, restless introduction before the powerful and dramatic main theme bursts forth. The second subject is calmer and more lyrical. Like all of the others, a superb work.

Lastly, Kahn wrote a Trio Serenade, Op.73. It has a very interesting history. When Kahn submitted it to his publisher Simrock, it was a trio for Oboe, Horn & Piano. Simrock took one look at it and told Kahn he would never sell more than a few copies if that were the only combination by which the work could be played. He told Kahn point blank that he would not publish it unless he made at least a version for standard piano trio. Kahn, who apparently was very fond of this work, did Simrock one better---he wrote the Serenade so that it could be played by 9 different ensembles! In a post-Brahmsian idiom, the lovely Trio Serenade is, unlike Brahms' own serenades, in one continuous substantial movement. It does, however, consist of two alternating parts, each with its own middle section or trio. The first part is a genial and relaxed Andante sostenuto which has for its trio section a lively Vivace. The second part consists of an Allegretto non troppo e grazioso, not terribly fast but elegant. It too has a faster middle section. Another work not to be missed.

We guarantee that piano trio players will be delighted to make the acquaintance of any of these trios. Kahn was a master composer whose works satisfy both the players as well as the listeners. You can hear soundbites from each movement on our website and the parts are available from Edition Silvertrust.