Recently Published Chamber Music

One has to wonder why it is that today the name of FRANZ KROMMER (1759-1831) is not mentioned in the same breath as Haydn and Mozart, because in his time it was. He was almost universally considered the worthy successor to Haydn who had stopped composing around 1800. Krommer's quartets and quintets were regularly programmed throughout Europe and went through several editions. He was a favorite of the Austrian emperor who played quartets with him for many years. His STRING QUARTET IN G MAJOR composed in the first decade of the 1800s is an exciting work which makes a excellent concert hall choice and which is certain to bring bravos from the audiences who hear it.	While it is the fate of most to vanish after death without a trace, except perhaps for a gravestone, one would think that it would be less likely for a composer of a charming piano trio to also disappear in this fashion. But this appearently is what has happened to FRIEDRICH WILHELM GRÜNBAUM. Despite long hours of research we could find nothing about him, all the more frustrating as he composed a very charming PIANO TRIO IN B FLAT MAJOR. This is a mid 19th century Romantic era work aimed specifically at amateurs looking for a piece to present in concert.
When it comes to naming Finnish composers, most music lovers can come up with the name of Sibelius and no one else, and few know of his chamber music. Perhaps one or two cognoscente have heard of Erkki Melartin, whose music is every bit as good as that of Sibelius. But virtually no one has ever heard of ERIK FURUHJELM (1883-1964). A generation younger than Sibelius and Melartin, he studied with the same teachers that they did and was, during his lifetime, an important musical personality at least in Finland, serving as director of the Helsinki Conservatorfy for many years. While not a prolific composer, he did write in most genres including chamber music.His massive PIANO QUINTET IN C MINOR is a towering work in the late Romantic style. This powerful Brahmsian quintet is sure to make a very strong impression on audiences who get a chance to hear this very fine work. Can be managed by amateurs who have a first rate pianist.	Today FLORIAN GASSMANN (1729-1774) is little more than a short entry or sometimes even just a footnote in musical dictionaries and encyclopedias. But in his time, he was 'Big Noise', that is to say, a very important musical personality. He succeeded Willibald Gluck as Imperial Court Composer to the Austrian Emperor Joseph II. He was also the teacher of Antonio Salieri. Like most of his contemporaries, he was a prolific composer in virtually every genre. Chamber music figures promiently in his oeuve and includes 40 string quartets, a dozen string quintets and numerous trios for various combinations. His TRIO IN E FLAT MAJOR FOR 2 VIOLAS AND CELLO is one such work. It can also be played by a standard string trio of violin, viola and cello.
The Italian composer and vioinist ALFREDO d'AMBROSIO (1871-1914), though he could easily have pursued a career as a touring violins soloist, decided instead to primarily devote himself to composing and teaching. Though born and intially educated in Italy, he chose to live the bulk of his life in Nice and Paris. His short, lovely tone poem RÊVE FOR 2 VIOLINS, VIOLA, CELLO AND BASS is a work for a salon audience. It showcases his fine gift for melodic writing as well as his ability to get the best from each voice. It makes an excellent encore but is long enough to be used where a shorter program work is required. After hearing it performed, audiences are certain to show their appreciation for having had the chance to hear such lovely music. It is not at all hard to play and therefore can also be warmly recommended to amateurs.	ERMEND BONNAL (1880-1944) studied with some of the finest teachers on offer at the Paris Conservatory: composition with Gabriel Faure, piano with C.W. de Beriot, and organ with Louis Vierne. He became a top-notch organist, but this did not stop him from composing in all different genres, including chamber music writing string quartets and a trio. At the request of two of his friends, amateur musicians, he composed a very emotive work, his PETIT POEME FOR VIOLIN, VIOLA AND PIANO. A good choice for concert where a shorter work is required and also good for amateurs.
ATTENTION VIOLINISTS, VIOLISTS AND CELLISTS: Mel Bonis, Louise Farrenc, Laura Netzel, Mathilde Kralik, Lusie Adolpha Le Beaui, Rebecca Clark, Dora Pejacivic, Kathleen Rogers, Ethel Smyth, Amanda Maier, Emilie Mayer, Johanna Muller-Hermann, Pauline Viardot, Agnes Zimmerman, Laura Netzel and Amy Beach---these are the names of but a few of the many fine women composers whose works we are proud to offer. And now for a limited time only THE SONATAS AND SHORTER INSTRUMENTAL WORKS FOR VIOLIN, VIOLA AND CELLO OF EVERY WOMAN COMPOSER WE OFFER ARE 50% OFF. Don't miss this opportunity to add to your libraries. There are many fine recital pieces waiting for you to discover. Why not visit our works by women composers page: https://www.editionsilvertrust.com/women-composers.htm where you can explore and listen to the works on offer.	You can be forgiven if the name JAN BAPTYSTA KLECZYNSKI (1756-1828) does not ring a bell, although during his lifetime he was certainly well-known to Haydn, Mozart, Beethoven, Krommer, Wranitzky, Gyrowetz and other prominent composers then active in Vienna. It is fair to say he was a man of parts. Of Polish ethnicity, he was born in the Czech part of the Austrian Empire. He studied violin and composition in Poland and spent the better part of his life in Vienna, working as a violinist in various orchestras and as a theater director. He was not a prolific composer, but what he did produce shows that he was talented and a full-fledged member of the Vienna Classical School of composition. His STRING TRIO NO.4 IN E FLAT MAJOR, was well enough thought of to be published simultaneously both in Vienna and Germany. It is well crafted with grateful parts for each voice. A good choice for both concert performance as well as amateurs
Fate can be unfair. Today, Mikhail Glinka is called the Father of Russian music as if he were the first Russian composer of classical music. But, he wasn't. ALEXANDER ALYABIEV (1787-1851) already had 100 works to his credit by the time he finished composing his STRING QUARTET NO.1 IN E FLAT MAJOR, in 1815, at which time the so-called father of Russian music (Glinka) was all of 8 years old. This quartet might well be the first string quartet composed by a Russian in Russia. (Anton Titz, a German who emigrated to Russia in the 1780s had composed quartets in Russia earlier). It show that Alyabiev was familiar with the works of the composers of the Vienna Classical period, in particular that of Haydn although it should be noted that the viola and cello are more generously treated than in Haydn's. This quartet deserves to be heard in concert and can be warmly recommended to amateurs	VINZENZ LACHNER (1811-1893) though as a composer not as well known as his older brothers Franz and Ignaz, was in his time equally as famous because he was considered one of the very finest opera conductors in Europe. He was also considered one of the finest arrangers of large scale works, such Beethoven's piano concertos, for chamber music ensembles.The excellence of these undertakings took attention away from his own top notch chamber music compositions. His PIANO QUARTET IN G MINOR was widely considered the equal of those of Mendelssohn and Schumann. The part-writing is first rate and the piano does not dominate but is tastefully blended into the ensemble.His gift for melody is also quite apparent. An excellent choice for the concert hall and warmly recommended to amateurs as well.