Robert Kahn (1865-1951)
Piano Quartet No. 1 in B Minor, Op. 14 (publ. 1891)
Piano Quartet No. 2 in A Minor, Op. 30 (publ. 1899)
Piano Quartet No. 3 in C Minor, Op. 41 (publ. 1904)
Serenade for String Trio in A Minor (1933)
Zilliacus Trio, Oliver Triendl (piano)
rec. 2017/23, Kammermusiksaal Deutschlandfunk, Cologne, Germany
cpo 555 150-2 [2 CDs: 93]
Robert Kahn was considered by some to be a successor to Brahms at the turn of the 20th century, and indeed he met and was inspired by this great role model in 1886, spending time in Vienna after studies with Joseph Rheinberger in Munich and finding in Brahms a welcoming father figure. The rise of the Nazi regime in Germany saw Kahn forced to emigrate to England where he was virtually unknown, and his lack of avant-garde innovation ensured that his name was forgotten after the war. As with so many composers overrun by history and the flourishing of more colourful characters in the European creative firmament it has been left up to us in the 21st century to rediscover and reappraise these works.
When we reviewers are sent lists of titles to select there are quite often sound samples to be found online to give an impression of each release. I was immediately attracted to the full and symphonic sound that Kahn creates with these chamber works. The first two Piano Quartets can be heard as a pair, with clear influences from Schumann and Brahms, but while it is easy to recommend these works as ‘more of the same’ there is such a huge amount going on in both works that you just have to stand in admiration for their powerful expressive weight and technical delivery. There is that full-bodied sound in the more vigorous outer movements, with unashamedly opulent themes and a sense of sheer delight from a composer who has both the heft of that entire Austro-German tradition at his shoulders, and a virtuoso, even playfully extrovert command of his instruments and his materials.
Part of the satisfying sound of the first two Piano Quartets is the even balance between the instruments, giving equal importance to each part while retaining transparency even in the fullest of passages. The Third Piano Quartet stands apart a little in its positioning of the piano part in a more soloistic role. Kahn was himself an excellent pianist so this is no great surprise, and this work remains a satisfying whole in terms of its chamber music execution even though this could arguably be turned into a piano concerto. The balance of these excellent recordings doesn’t place the piano forward in the mix however, and so this aspect of the work is not overstated in this performance. Schumann vibes are still strong in this music, and more persistent sequential writing gives some of it a heavier feel than the first two quartets, but this remains a vital and at times jaunty ride and the kind of music you could put on as an inspiring background in the classical department of your CD shop without driving the customers out onto the street.
The Serenade for String Trio was apparently written for the composer’s “own amusement”, and is more soulful and less public-orientated than the quartets. At around 20 minutes this is still quite a substantial work and, as with the quartets, filled with lyrical tunes and marvellous themes that are given fascinating treatments. Kahn is quite counterpoint-oriented, which is part of a technique that keeps everything luminous and avoids blockish density.
Looking at the offerings available it would seem that Robert Kahn is increasing in recognition amongst today’s musicians, though there is always scope for more. This collection of his complete Piano Quartets is well worth having if you enjoy fine chamber music and are interested in discovering another of those turn of the century stylistic outliers who in fact were more mainstream than those listed as ‘moderns’ in those old brown music textbooks from a century or so ago. I can’t imagine the quartets being played better, and these are all very fine performances captured with lively detail and fulsome sonics that seem ideally suited for these works.
Dominy Clements
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