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LACHNER: Septet / FUCHS: Clarinet Quintet, Op. 102

4.5 out of 5 stars 2 customer reviews

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Product Details

  • Performer: Martin Ostertag, Ulf Rodenhauser, Wolfgang Guttler, Ensemble Villa Musica, Jean-Claude Gerard, et al.
  • Composer: Robert Fuchs, Franz Paul Lachner
  • Audio CD (July 31, 2009)
  • Number of Discs: 1
  • Label: Alliance
  • Run Time: 76 minutes
  • ASIN: B000009IHI
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #545,224 in Music (See Top 100 in Music)

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Format: Audio CD
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Robert Fuchs may be considered as the Austrian equivalent of Max Reger: their time-lines and aesthetics are parallel; both were strongly influenced by Brahms; both produced a respectable oeuvre of a very high quality, with an especial emphasis on chamber music.

But while Reger's ethos may be seen as an original synthesis of Brahms and Bach, Fuchs' is undoubtedly a remarkably pure fusion of Brahms and Schubert.
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Mozart of course invented the genre of clarinet Quintet--(i.e., string quartet w/clarinet), and while it is sadly regrettable Beethoven did not essay the genre, Brahms took it up, and the result at least rivals if not surpasses Mozart's immortal masterpiece.
Mozart and Brahms: Clarinet Quintets
Mozart / Brahms: Clarinet Quintets

Reger too produced a very fine clarinet Quintet in his later, more-Mozartean style.
Reger: Clarinet Quintet, Op. 146/String Quartet, Op. 109
Reger: The String Quartets; Clarinet Quintet

Hindemith as well:
Clarinet Quintets & More Chamber Music
.
Fuchs' Clarinet Quintet Op.
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Here we have representative chamber works from two composers who were well-known in their own era but who have essentially disappeared from current concert programs. Franz Lachner (1803-1890) was a younger contemporary of Schubert. The friends were both students of Simon Sechter in Vienna and belonged to the same circle of young musicians; they often took long rambles together in the Vienna Woods. Indeed this Septet, which was not only written at the same time as Schubert's beloved Octet, but uses almost the same instrumental forces, sounds for all the world as if it could have come from Schubert's pen. Each uses strings (including double bass) and winds, a combination I've always found endearing. And think of what the bass adds to Schubert's even better-known 'Trout' Quintet. In Lachner's Septet there is the same pastoral quality that one finds in both the 'Trout' and the Octet. This is Hausmusik of the highest quality. The five-movement structure and the dancing rhythms are evidence that the piece arose from the serenade format so beloved of the Classical period, now made even more gemütlich in Biedermeier Vienna. This is not great music, probably, but it is a superior example of its kind.
Robert Fuchs (1847-1927) was himself probably best known as a teacher in Vienna. Among his pupils were Gustav Mahler, Hugo Wolf, Franz Schreker and Franz Schmidt. Interestingly, his older brother, his first teacher, had also been a student of Simon Sechter. His music is marked by expert use of post-Wagnerian chromatic harmony and Brahmsian counterpoint; it tends to bridge the not-so-wide gap between those two supposedly antipodal composers. The Clarinet Quintet, for clarinet and string quartet, perhaps inevitably--after Brahms--has a somewhat autumnal quality.
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