The Russian Brahms

Sergei Taneyev was given the nickname of "The Russian Brahms" for excellent reasons.  His musical style depended on the same foundations as that of Brahms: a thorough appreciation and understanding of musical structure, and a use of logical musical argument to express his emotions and ideas.  At the same time his music is unmistakably Russian -- it could have been written in no other country.

Right now I'm listening to Taneyev's remarkable Piano Quintet.  Unlike most chamber music, but like some of the great chamber masterpieces of Brahms, this music definitely opens up the possibility of orchestral expression.  Much is true chamber music, but passages like the climactic ends of the first and last movements cry out for a broader instrumental palette and a weightier sound overall.

That first movement sounds, on initial hearing, a little rambling and discursive.  Stick with it, though, listen to it several times over, and the structural landmarks will begin to declare themselves.  The work opens with a slow introduction which lays out several key themes, and the ensuing allegro builds on these key ideas.  Over the course of 15 minutes it gradually rises to a thunderous climax.  The piano hammers out deep bass octaves in exactly the manner of the deep timpani strokes at the opening of Brahms' First Symphony, while the strings give a majestic rendition of the melody (originally meditative, then almost playful) which had opened both introduction and allegro.  This leads on to a gigantic accelerating climax, the piano very much to the fore, bringing the movement to its breathtaking end. 

The scherzo, placed second, is definitely playful, very light, almost Mendelssohnian, and a most necessary contrast to the huge drama of the first.

The slow third movement is a direct homage to Brahms: a passacaglia or set of variations on a bass theme, just like that found in the finale of Brahms' Fourth Symphony.  The finale is more straightforward in structure, eventually bringing the work to another majestic climax.

It's a rare piece indeed, but I had the good fortune to hear it first at the Festival of the Sound where the pivotal piano part was given a magisterial performance by the famous Russian chamber pianist, Luba Edlina. 

There's one recording I know of, a very fine one, by the Amsterdam Chamber Music Society, which is currently available in a super-bargain set of Treasures of Russian Chamber Music on the Brilliant Classics label.  This set also contains (among others) the rare and beautiful String Quartet by Anton Arensky, and I'm sure I'll have something to say about that one in the future!  Meanwhile, do seek out Taneyev's masterpiece.