Robert Kahn (1865-1951)
Piano Trio No 4 in E minor, Op 72 (1922)
Serenade in F minor, Op 73
Piano Quintet in D major (1926)
Hohenstaufen Ensemble
rec. 2015/21, Evangalische Kirche Hohenstaufen, Germany
Hänssler Classic HC22075 [69]
Robert Kahn was a protégé of Brahms, close enough to be one of the few present when Brahms’ third piano trio was played for the first time, in a private performance for Clara Schumann. While Kahn was a prolific composer, his main contribution to music was his teaching at the Königlichen Hochschule für Musik in Berlin, where his students included Arthur Rubinstein, Wilhelm Kempff, Ferdinand Leitner and Nikos Skalkottas. He left Nazi Germany (he was Jewish) in 1939, spending the remaining twelve years of his life in England.
When I requested this disc for review, I hadn’t remembered that in 2016 I had reviewed a disc of Kahn’s trios (Nos 1 & 2, review). In that, I commented that he, among many other composers not of the first rank, lacked the gift of concision. In the somewhat later works on this new release, he seems to have improved somewhat in that regard. None of the five movements of the trio – the best of the three works – is in excess of eight minutes. However, the Serenade definitely goes on too long at almost eleven minutes, and the quintet’s finale, at over thirteen minutes, just doesn’t hold together. Matters aren’t helped by the quintet’s odd structure – fast-fast-slow.
Back in 2014, my colleague Philip Buttall reviewed a cpo release of all four piano trios (review), and described Kahn as “an anachronism, a well-intentioned and no doubt most-gifted composer, who just happened to be born about half-a-century too late”. There is no doubt that he possessed quite a gift for melody, very much influenced by Brahms, but that didn’t extend to a talent for structure and development. Each of the nine movements on this disc start off very promisingly, but in every case, the interesting rhythms and lovely melodies aren’t enough to sustain interest, and things peter out. The shorter movements fare best.
This is a labour of love for the Rilling sisters, violinist Rahel and violist Sara, who are great-granddaughters of the composer. They have been performing his works in concert for more than a decade, and this is the second release of his music the ensemble has recorded for Hänssler Classic (the first, from 2013, not reviewed on MWI, has a piano quartet, string trio and lieder).
Performances by the Hohenstaufen Ensemble are good, with plenty of energy and enthusiasm. They are clearly superior to the Hyperion Trio (on the earlier cpo release) in the trio. By way of example, the second movement Molto vivace e leggiero has much more vivacity. The notes are in the form of an interview with Rahel Rilling, and provide excellent background information on the composer and the music.
Lest my comments be perceived as too critical, this is enjoyable music with some very fine moments, and it is hardly a disgrace to not be as good as Brahms. Seekers of the unsung will find this a worthwhile journey.
David Barker
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