by Layne Anspach
Hello musicians!
Ernő Dohnányi (1877-1960) was a Hungarian pianist, conductor, teacher, and composer. He was born in Pozsony, now Bratislava, where he was musically trained by the cathedral organist and his father. He finished his formal training in piano and composition at the Budapest Academy. Dohnányi quickly achieved recognition for his skills as a pianist, cementing himself as both a soloist and composer in Europe and the USA by 1900. This acclaim led to positions at the Hochschule in Berlin and the Budapest Academy. While at the Budapest Academy, he taught piano and composition, eventually becoming the director. Through the difficulties surrounding World War II, he eventually found his way to Florida State University as composer-in-residence from 1949 until his death.
While bedridden with thrombosis for a few months, Dohnányi wrote the Sextet for Piano, Clarinet, Horn, Violin, Viola, and Cello, Op. 37, which was his final chamber work. The first movement, Allegro appassionato, begins with piano and cello providing the foundation for the opening. The other voices interject with the horn leading the first statement. While itself not overly bright, the opening theme is countered by a dark second statement in unison strings and piano. The piano cascades downward into another character, and all this occurs within the first minute. The entire movement can be described as tempestuous with only hints of calm and tranquility; the twists and turns warrant a close listen.
The second movement, Intermezzo, adagio, begins with a tranquil scene set by strings and piano. The serenity is broken with the introduction of a march, led by the piano. The tranquility of the opening returns, this time including the winds. The movement ends with the tranquil theme and a short interruption by the march. The third movement, Allegro con sentimento, features a loose set of variations. The clarinet presents the melody with string accompaniment. There is a definitive change at the Presto which emulates a scherzo. A lush section, Meno mosso, follows with all voices. Prior to the end of the movement, the horn presents the theme from the first movement, setting up an attacca into the final movement.
The final movement, Allegro vivace, giocoso, starts with a light theme in the piano, which is passed to the clarinet. The ensemble descends into a haphazard waltz seemingly by accident. After a few attempts to break away from the waltz, the ensemble finds its way back to the initial theme. Then, the theme from the first movement finds its way back as the movement comes to a victorious conclusion.
The reference recording features hornist Alec Frank-Gemmill.
