Hermann Zilcher 1881-1948

[Holger]

Many thanks for the links, Rainolf! As you know, I bought the score (or rather the piano reduction) of Zilcher's Konzertstück many years ago in a music store in Eisenach and tried it out myself a bit. However, so far it seemed it was never recorded. Great to have the chance to listen to a performance now!

[Alan Howe]

Well, after a long gap I now have the CD on the Largo label featuring the Piano Trio in E minor Op.56 (1927) and Piano Quintet in C sharp minor Op.42 (1919).

I should have invested in this release years ago. The Piano Quintet is a masterpiece of the first order, of that I am convinced. It has a restrained beauty shot through with remarkable expressions of pain and regret, possibly associated with the period in which it was written. Composed in a recognisably traditional idiom reminiscent of and building on, say, late Brahms, this Quintet has little of the restless chromaticism of Reger, instead majoring on subtle textures and memorable melodies. In a way, its restraint reminded me of Fauré, although I can't think of any comparable work in the repertoire. It is a quite extraodinarily moving piece.

Here's an insightful commentary:
<<His Post-Brahmsian Piano Quintet in c# minor, Op.42 dates from 1918. Zilcher clearly rejected the atonalism of the 2nd Vienna School. Rather, it is Brahms who serves at the structural model and tonal point of departure. The first movement, Leidenschaftlich bewegt, opens with a dark theme in the violin which later is taken up by the lower voices whilst the piano hovers in the background. Its integration into the ensemble is particularly fine. The second movement, Langsam bewegt, ausdruscksvoll, is not only highly original. The opening slow, march-like theme begins softly and somberly—there is an unmistakable funereal quality to it, but with a slight hint of mystery as well. The middle section literally comes out of nowhere. It is a gossamer scherzo—a whirling dance in the strings against the ostinato funeral march in the piano. The tension is gradually brought to a very high pitch but there is no real resolution, just a gradual release as the music retreats back to the slow first theme. The finale, Frei in Zeitmaß, fließend, sehr bewegt, begins with a short and powerful shout from the string quartet alone. The themes are full of agitation. Given the year of composition, 1918, it is not surprising that Zilcher's thoughts were on the First World War and he uses as one of his themes, the melody from his own then well-known volkslied, The Austrian Cavalryman's Song. However, after all of the early unrest, the Quintet is brought to an end quietly with a meditative chorale.>>
https://w.editionsilvertrust.com/zilcher-pno-quintet.htm

[eschiss1]

I see. Not that they'd -written- many atonal works for others to reject in 1918 , and those they'd written had, except for Schoenberg's, mostly remained unpublished and had received perhaps a few performances
As to the Zilcher itself, I look forward to hearing it. I wonder from your description though if Zilcher had heard any of the contemporary chamber works by his French contemporaries, like Schmitt (eg his piano quintet of 1902-8), Bonis, Dubois and others? I doubt (maybe wrongly) if -every- German and Austrian composer was as reflexively anti-French-music, and vice versa, as the most famous ones seem to have been... (that said, Berg's snarky comments in a letter to Schoenberg at an ISCM festival on hearing eg Frank Bridge's 3rd string quartet, say- and I think also Myaskovsky's 4th piano sonata in the same festival? - are not encouraging when it comes to that larger subject, but yes, tangent, sorry.)

[eschiss1]

BTW unless this was meant to be under the Recordings forum, this thread could be merged with the other Hermann Zilcher thread that's still on the first page - unless I'm missing something. Which happens often.

[Alan Howe]

this thread could be merged with the other Hermann Zilcher thread

Thanks, Eric. Done!