Reflections
Johannes Brahms (1833-1897)
Piano Quartet No.3 in C minor, op.60 (1855-1875)
Hans Gál (1890-1987)
Piano Quartet in A major (1926)
Confringo Klavierquartett 
rec. 2025, SWR Studio Kaiserslautern, Germany.
Genuin GEN26954 [62]

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

Speaking about his Piano Quartet No.3, 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 novel. This would have signalled the quartet’s themes of unrequited love and despair. Simrock did not take Brahms 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 Brahms’s mental turmoil. Shortly after Robert’s death in 1856, he found another distraction, this time with Agathe von Siebold. The quartet was put aside, and remained in a drawer for nearly twenty years; there was some revision.

The opening movement begins starkly before the strings introduce a ‘sighing’ motif often associated with Clara. That sets 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 turbulent Finale: Allegro comodo has 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 work. 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.

Gál wrote the Piano Quartet in A major for the pianist Paul Wittgenstein, who had lost his right arm during the First World War. The complex piano writing 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 chose 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 nodsunapologetically to Brahms. Optimistic but occasionally melancholy, it presents contrasting themes and a vivid development. A buoyant scherzo, Presto e leggiero, has awill o’ the wisp fleetingness. Central to this Quartet is the poignant, introspective Adagio, dolce ed espressivo; its expansive tunes are supported by a subtle accompaniment. The Quartet concludes with a mercurial Molto vivace, 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. One is on cpo (review ~ review ~ review); the other is on Cobra Records (review).

Confringo Klavierquartett was formed by musicians from Germany, Serbia and South Korea during their studies in Berlin and Hanover. They share 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.

Florian Gierring’s liner notes, in German and English, give a good introduction to the two important works featured on this disc. Biographical details of the ensemble are included.

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

John France

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Performers
Eun Che Kim (violin), Philipp Sussmann (viola), Irena Josifoska (cello), Viktor Soos (piano)