Reflections : Piano Quartets by Johannes Brahms and Hans Gál

Werther was the tragic hero of Goethe’s Die Leiden des jungen Werthers (1774) who became a crucial figure in German cultural lore. He was a gifted and sensitive young man who was consumed by an impossible love for Charlotte. This anguish made him into a symbol of the of Sturm und Drang spirit and serves as a warning about what can happen when feelings run wild.

Speaking about his Piano Quartet No.3 in C minor, op.60, Brahms told his publisher Simrock, that the score should feature a picture of a man with a pistol pointed at his head, referencing Goethe’s book. This would have signalled the present quartet's themes of unrequited love and despair. Simrock did not take him up on this suggestion.

When Brahms began initial sketches for his three piano quartets in 1855, he was deeply in love with Clara Schumann, wife of Robert, who at that time was institutionalised in an insane asylum. Instead of Werther’s pistol shots, the writing of this music was a catharsis for his mental turmoil. Shortly after Robert’s death in 1856, he found another distraction, this time with Agathe von Siebold. The quartet was put to one side, remaining in a drawer for nearly twenty years (there was some revision) before emerging in 1875.

The opening movement begins starkly before the strings introduce a ‘sighing’ motif often associated with Clara, setting the tone for a narrative of tension and release throughout this Allegro non troppo. An appealing second theme in E‑flat major offers warmth, yet the movement never fully escapes its C‑minor gravity. An angry and intense Scherzo Allegro follows; instead of a formal trio, Brahms inserts a brief, unsettled episode. The Andante, the emotional heart, begins with a beautiful long cello melody that offers a measure of consolation. It is thought to be a “farewell to Clara,” and is tenderly played here. The Finale is a turbulent Allegro comodo, its agitated figures driven forward until they finally gain a hard‑won, unsentimental C‑major close. Any performance must recognise the sense of tragedy that overshadows this Piano Quartet. I feel that Confringo Klavierquartett get this mood exactly right.

Hans Gál was an Austrian‑British composer, teacher and scholar who was forced to flee from Austria in 1938. He rebuilt his career in Britain, producing symphonies, chamber works, and operas defined by a rare blend of elegance and contrapuntal wit.

The Piano Quartet in A major was written in 1926 for the pianist Paul Wittgenstein who had lost his right arm during the First World War. The piano writing is so complex it successfully creates the illusion of two hands. Certainly, Wittgenstein’s left hand had its work cut out. At a time when composers were experimenting with various forms of modernism, Gál uses what might be regarded as old-fashioned tonal clarity.

Unfolding across four well balanced movements, the Quartet is defined by appealing melodies and formal balance. The opening Vivace ma non troppo nods unapologetically to Brahms. It is optimistic, but occasionally melancholy, presenting contrasting themes and a vivid development. A buoyant Scherzo, Presto e leggiero possesses a will o’ the wisp fleetingness. Central to this Quartet is the poignant, introspective Adagio, dolce ed espressivo using expansive tunes supported by a subtle accompaniment. The Quartet concludes with a mercurial Molto vivace which is Bartókian in its rhythmic bite. The middle section is brooding, before an exhilarating and witty build up to the final pages.

There have been at least two other recordings of Hans Gál’s Piano Quartet in A major (CPO 555 276-2),  reviewed here, here, and here. The other is Left Hand Legacy Vol.1: Chamber Music Written for Paul Wittgenstein (COBRA0087) reviewed, here.

Confringo Klavierquartett was formed by musicians from Germany, Serbia, and South Korea during their studies in Berlin and Hanover. The Quartet shares a strong interest in Classical, Romantic, and Contemporary repertoire. They have earned significant recognition, including the 2024 Hans Gál Prize and a German Music Competition scholarship.

The liner notes by Florian Gierring give a good introduction to the two important works featured on this disc. Biographical details of the ensemble are included. The booklet is printed in English and German.

This is a splendid debut performance by Confringo Klavierquartett. Both Quartets are performed with enthusiasm and self-assurance. They reflect Brahms’s darker shadows and Gál’s intricate, lyrical wit.

Track Listing:
Johannes Brahms (1833-97)
Piano Quartet No.3 in C minor, op.60 (1855-75)
Hans Gál (1890-1987)
Piano Quartet in A major (1926)
Confringo Klavierquartett: Eun Che Kim (violin), Philipp Sussmann (viola), Irena Josifoska (cello), Viktor Soos (piano).
rec. 18-20 April 2025, SWR Studio Kaiserslautern, Germany.
Reflections Genuin GEN26954

With thanks to MusicWeb International where this review was first published.