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These two Piano Quintets
share something of the same primus inter
pares aesthetic. The Concertante element
is quite explicit in Lammer’s virtuosic
and powerful work, perhaps less pronounced
in the Ries piece. Published in 1817
and cast in three movements Ries mines
a vein of Hungarian melody after the
grave opening passages, rich in portent.
The folk strain contains some cimbalom
imitation and plenty of right hand fortepiano
tracery. The main Allegro section is
rather more obviously conventional though
it’s still very attractive. After the
cello solo the Larghetto develops a
rather pensive and piano-led profile
before a banishing-cares finale with
perky piano leading on to a calm moment
of reflection and renewed drive. Not
a particularly innovative work nor in
truth an outstanding example of the
genre – but the Nepomuk Fortepiano Quintet
do all they can for it.
The Lammer is distinctly
a few notches higher. Firstly it is
imbued with Schubertian lyricism and
drama and secondly it has a strong part
for the fortepiano protagonist. Its
limitations are the same as those of
the Ries – a problem with form. Neither
a Concerto nor an unambiguous chamber
work it rather falls between the musical
cracks. At times it sounds distinctly
like a Concerto reduction, with tutti
sections firmly in place and grand gestures
from the "soloist." Lammer
however was a composer of some substance
and if the opening Allegro outstays
its welcome it does at least introduce
the specific elements of solo/tutti
that inform its length. The constant
syncopation in the Scherzo – full of
strain and drama – is nicely contrasted
with the airy lightness of the trio
section. I liked the long and rather
discursive Adagio with its cadential
passages for the fortepiano; it adds
to the rather unsettled nature of the
work. Also the finale, with its clever
rhythm and polyphonic depth, as it explores
melodic contours with renewed anticipation.
The performances are
disarmingly charming and, where necessary,
forceful. Fortepianist Riko Fukuda takes
on the greatest burden and acquits herself
with distinction. If neither work resolves
the tension in form both deserve a serious
hearing – especially in these committed
performances.
Jonathan Woolf
Nepomuk Fortepiano Quintet 