I would just like to emphasize what an astonishing piece Dohnányi's Piano Quintet no. 1 in C minor, op. 1 is, especially from the pen of a 17-year-old. It was the centerpiece of a chamber concert I attended this afternoon. It is truly a piece deserving of entering the standard repertoire, as the pianist at the concert so rightly proclaimed. It encompasses a passionate first movement (with an almost cinematic main theme), a Dvorakian scherzo (with a hushed ending), a beautiful, nocturnal slow movement, and an inventive finale with a catchy main theme in 5/4 and a reprise of the "cinematic" theme from the first movement near the end, bringing the work full circle. Of course, the large shadow of Brahms hovers over the piece, but it is still quite remarkable, with a fresh melodicism (I know that's not a word ;D) all its own. Any other views on this splendid work?
Chamber Music Society of Lincoln Center (New York) has regularly featured Dohnanyi works in their repertoire. In 2010, they performed the Piano Quintet in a program highlighting Hungarian musical roots. I agree that it is an exceptionally fine work technically and melodically. The program also included Dohnanyi's opus 10, the Serenade in C for Violin, Viola and Cello. In 2012, they programmed and toured with Dohnanyi's Sextet in C major for Piano, Clarinet, Horn, Violin, Viola, and Cello.
Unsung composers seem better represented in chamber music programming than on the concert stage. Chamber music has a somewhat different audience. I know quite a few people who rarely attend orchestral concerts, but attend chamber music programs frequently, contribute their time and financial support to chamber music festivals and societies, etc. And of course there are many who enjoy orchestral music but have little interest in chamber music.
So, perhaps there is a wider acceptance of less familiar composers in chamber music -- or put another way, maybe composers whose orchestral music is unsung are better known in chamber music circles.
I agree with your observations, Amphissa. Rarely have I heard the orchestral music of unsungs such as Dohnanyi who are featured in chamber concerts played in the concert hall. Are conductors, who are so stubbornly conservative these days, the reason behind this? I would imagine that concert-goers contribute equally to orchestras and chamber groups, if not more towards the former. So I don't think funding would be a contributing factor....
There's much more money at stake, as well as a larger hall to fill, with an orchestral concert. Working on unfamiliar music with 100 musicians as opposed to 3 - 5 is quite another matter as well.
Astonishing as the 1st Piano Quintet is, the 2nd is far better. I will also unequivocally state that you haven't truly heard Dohnanyi at his zenith until you've heard his Symphony No.2, which is IMO one of the 20th century's great symphonic works. It's a wartime work that is memorable, kaleidoscopic, truly moving and dramatic with nary a misstep to be found. I urge you to audition this masterwork.
I wonder if the BBC plans to release the studio recordings they made - in the mid-90s (1995 for symphony 1, according to Cadensa, when Dohnanyi was composer of the week, September '95) - (with Ossonce, I seem to recall) of the 2 numbered symphonies (maybe not now that Chandos has recorded them and Teldec has recorded no.1. I remember griping that popular as Dohnanyi was for a few works - this was around 1991 or so- no one was touching his 3 symphonies and almost no one had touched his 3rd string quartet in years and years; I hadn't heard any of them yet. Times have changed; gives me hope for other things too.) (Hrm. Cadensa lists a February 1979 recording- "first broadcast recording" (in the UK? anywhere?) of no.2 (1943-4, rev. 1953-6- there's an interesting article on the history/composition of the 2nd symphony...) conducted by de Csillery I wasn't at all aware of. Interesting...) (I don't see one from 1995 of no.2, but was sure there was one. maybe they rebroadcast the de Csillery...)
(Hrm. They repeated this CotW in 2005, so I'll look at the playlist from that year and find out... :) - no, that time they stuck to the Bamert etc. recordings...)
May I ask about recordings available and if there is one that perhaps stands out?
Tom :)
@sdtom You won't go wrong with Hyperion CDA66786, which comprises both Piano Quintets plus the Serenade for string trio, op. 10, performed by the Schubert Ensemble of London.