Any appreciation of Hans
Gál begins by understanding that he was a largely conservative composer. Not
for him were the intricate convolutions of dodecaphony, integral serialism,
electronic or aleatory music. If anything his aesthetic nods to Brahms and occasionally
Mahler. Grove’s Dictionary describes his style as “uniting many elements: the clarity, playful humour
and formal mastery of early Classicism; the chromatic harmony and extended
tonality of early 20th-century, pre-serial music; a Schubertian love of melody;
the lyricism and emotional restraint of Brahms and the contrapuntal textures
that remained fundamental to his style.”
The Suite for piano is a good place to begin. Written in 1922, it is the
earliest piece on this disc, and was completed when Gál was living and working
in Mainz. This is charming music. The opening Praeludium does indeed nod
towards French Impressionism without being a parody. The following Minuet
is a clever fusion of classical sensibilities with a touch of a Parisian
nightclub about it. My favourite movement is the vibrant Capriccio which
manages to balance two entirely contrasting sections: a bouncy bit of
“burlesque” and a long melody that has a hint of folksong about it. More significant
matters are found in the Sarabande funèbre, which is not quite as
depressing as it sounds. The Suite concludes with a well-wrought Gigue,
once again juxtaposing two diverse themes. This time it is a lively, mischievous
tune against “feigned sentimentality.”
The liner notes quote the composer’s daughter, Eva Fox-Gál, who states “I
think each [movement] represents a facet of his style and in fact anticipates
much of his later piano writing.”
The main event on this new CD is the Quartet in A major for
piano (left hand), violin, viola and cello. It was finished in 1926 and was
dedicated to the pianist Paul Wittgenstein. In the post Great War years many
works were written for him to play – he had lost his right arm during the
Battle of Galicia in modern day Ukraine. These include important contributions
by Britten, Ravel, Korngold and Hindemith.
The booklet includes a
detailed discussion about the genesis and subsequent revision of the Quartet.
Mention is made of three performances, all between 1928 and 1930. And then the
piece was largely forgotten. It was never published nor given an opus number.
The Quartet lasts for more than 27 minutes and is cast in four movements. The
heart of the work is the Adagio, dolce ed espressivo. This is not
intense music, more tender and introspective. The opening Vivace ma non troppo
is dignified and occasionally wistful, with lots of contrasting themes and
development. The “second subject” is particularly poignant. The “scherzo,”
placed second, is a breath of fresh air. Light and breezy, this typically
quicksilver music is balanced by a stately “trio” section. The finale, Molto
vivace is vibrant and has an almost Bartokian sense of rhythm. The notes
explain that all the movements are thematically unique – this Quartet is not
cyclic. The overall impression given in this outstanding performance is of a
composer who is utterly confident with his instrumental resources and musical
material.
The Concertino for piano and string orchestra, op.43 was written in
1934. This was at the time when Gál and his family had moved from Mainz,
where he had held the position of Director of the Hochschule für Musik, to
Vienna, due to persecution by the Germans. For five years, he was employed as a
conductor with the Vienna Concert Orchestra and the Bach Society in
Vienna.
The work opens with a
powerful Intrata, signed to be played “Grave e maestoso.” The liner
notes suggest that the “dotted notes” are redolent of one of Handel’s Concerto
Grosso. This is followed by a beautiful Siciliano which is disarming: there
is nothing here to suggest the stress that Gál was under. A long cadenza leads into the final Fuga.
This is lively, complicatedly contrapuntal and full of buzzing energy. The
middle section is just a little bit more reflective.
After the Anschluss (annexation of Austria by Germany, 13 March 1938)
Gál and his family fled to London enroute to the United States. They never
crossed the Atlantic. He and his family were invited to Edinburgh by Donald
Tovey and was then appointed Reid Professor of Music at Edinburgh University. He
remained in this city until his death in 1987.
The final number on this CD is also the latest. Composed in 1940, when Gál
was residing in Edinburgh, the Impromptu for viola and piano, was dedicated to his
fifteen year old son, Peter. The young lad had recently taken up the viola,
after having learnt to play the violin. The booklet is correct in suggesting
that this is an “occasional piece” and a “personal work written as a present
from father to son.” Yet, it is deeply felt, if somewhat straightforward. The
romantic harmonies will reinforce the notion that Gál was influenced by Brahms.
It deserves to be in the repertoire of all violists.
In preparing my review, I have been beholden to the excellent,
informative liner notes by Dr Michael Haas. They are printed in German and
English. Details of the performers are included. Inside the rear cover is an
evocative photograph of Hans Gál with his daughter Eva, somewhere in Edinburgh,
by the look of the buildings in the background. As usual with CPO recordings,
the sound quality is outstanding. All the performances are sympathetic and
totally engaged.
This remarkable CD introduces the listener to four interesting and
immediately approachable works by one of the most engaging members of that
group of brave composers defined as “Continental Britons.”
Hans Gál (1890-1987)
Quartet in A major for piano (left hand), violin, viola and cello (1926)
Suite for piano, op.24 (1922)
Concertino for piano and string orchestra, op.43 (1934)
Impromptu for viola and piano (1940)
Gottlieb Wallisch (piano), Members of the Aron Quartet: Barna Kobori (violin), Georg Hamann (viola), Christophe Pantillon (cello), Hartmut Rohde (viola)
Franz Liszt Chamber Orchestra/Hartmut Rohde
rec. March 2019 (Quartet), May 2019 (Concertino, Impromptu), July 2019 (Suite), Tonzauber-Studio, Wiener Konzerthaus, Austria.
CPO 555 276-2
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