To say that Charles Villiers Stanford modeled his Piano Quintet of 1886 and his String Quintet of 1903 on Brahms is to state the obvious. From the layout of the movements to the details of the scoring, from the drive of the rhythms to the strength of the themes, Stanford clearly took Brahms as a model. Besides, who else was he supposed to model them on? In the second half of the nineteenth century, Brahms was the acknowledged master of chamber music forms and any composer with any ambition from Stanford to Sibelius to ...
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To say that Charles Villiers Stanford modeled his Piano Quintet of 1886 and his String Quintet of 1903 on Brahms is to state the obvious. From the layout of the movements to the details of the scoring, from the drive of the rhythms to the strength of the themes, Stanford clearly took Brahms as a model. Besides, who else was he supposed to model them on? In the second half of the nineteenth century, Brahms was the acknowledged master of chamber music forms and any composer with any ambition from Stanford to Sibelius to Taneyev to Dohnányi was going to wind up writing in Brahms' idiom. More significant is Stanford's success in writing in Brahms' idiom. As embodied in these performances by pianist Piers Lane with the RTÉ Vanbrugh Quartet, Stanford's Piano Quintet and String Quintet don't sound like pastiches or parodies, but rather as full-fledged works in their own right that speak the Brahmsian idiom with energy, fluency, and intensity. Lane and the Vanbrugh Quartet clearly believe in the value of the...
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Add this copy of Stanford: String Quintet No. 1; Piano Quintet to cart. $11.98, like new condition, Sold by Streetlight_Records rated 5.0 out of 5 stars, ships from Santa Cruz, CA, UNITED STATES, published 2005 by Hyperion UK.
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