by Layne Anspach
Hello musicians!
Continuing with piano and wind repertoire, we will focus this month on Anton Rubinstein’s Quintet in F Major, Op. 55. Rubinstein was a Russian pianist, composer, conductor, and teacher. He was an exceptional pianist, and his recitals were big events. In 1862, he founded the St. Petersburg Conservatory. As a composer, Rubinstein wrote for a wide variety of genres: opera, symphony, concerti, songs, and chamber works.
The Quintet in F Major was written in 1855 while Rubinstein was on a solo tour. He also composed a piano quartet version, Op. 55a. The first movement, Allegro non troppo, starts with a call and response between winds and piano. The clarinet takes on the first melody with piano accompaniment. The horn and piano pass the second theme between each other before the rest of the winds join. The development is fragmented between winds and piano, although the piano part is present throughout, driving the section forward. The recap is accentuated with piano figurations, added to the return of the chordal winds. The movement ends with a flurry from the piano with chordal support from the winds.
The first theme of the second movement, Scherzo: Allegro assai, is carried melodically by the piano. After the winds present the second theme, the piano waits to adopt it until the end of the scherzo section. The trio features bassoon and horn melodically with piano accompaniment. The scherzo returns unedited.
The horn, with piano support, is heard with a lyrical solo beginning the Andante con moto. The melody is passed from horn to the other winds as the movement continues. As expected, the piano takes a more prominent role as the movement progresses. Building up to a piano cadenza, the rhythmic pulse fluctuates through a forward push of the tempo. The opening theme is reprised by the piano leading to the soft conclusion.
In the final movement, Allegro appassionato, the piano begins alone, but shortly the clarinet joins with melodic content and remains the focus, only relinquishing to the horn for a short time. The second theme is characterized by a staccato style and dotted rhythms. The development is introduced by the piano with soft repeated chords which continue with fragmented wind commentary. The recap is worth a special listen, although it sounds as if it arrives too early! The key areas are still modulating with the first theme appearing in A-flat major, rather than the expected F major. F major is not restored until the second theme of the recap, which continues to build to a dramatic climax but is interrupted by the soft chords from the development. A final Presto brings the work to a typical rousing conclusion.
The reference recording is from Consortium Classicum’s album Anton Rubinstein: Octet, Op. 9 and Quintet, Op. 55 (Orfeo). The hornist on the album is Jan Schroeder.
