The Max Bruch works on this album range from rare (the String Quartet No. 1 in C minor, Op. 9, and Piano Quintet in G minor) to almost-never-played since the 19th century (the Swedish Dances, Op. 63). With the possible exception of the youthful C minor string quartet, an accurate essay in the style of Mendelssohn, they're worth a revival even if nothing here is a barn-burner. The performances from the Goldner String Quartet and pianist Piers Lane are accurate and enthusiastic. The Piano Quintet in G minor was written in ...
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The Max Bruch works on this album range from rare (the String Quartet No. 1 in C minor, Op. 9, and Piano Quintet in G minor) to almost-never-played since the 19th century (the Swedish Dances, Op. 63). With the possible exception of the youthful C minor string quartet, an accurate essay in the style of Mendelssohn, they're worth a revival even if nothing here is a barn-burner. The performances from the Goldner String Quartet and pianist Piers Lane are accurate and enthusiastic. The Piano Quintet in G minor was written in Liverpool, where Bruch had taken up a post as conductor; he wrote the piece for local musicians and tempered its technical demands accordingly without losing a very Brahmsian feel. Perhaps the most worthwhile work is the set of Swedish Dances, for which Bruch had high and unfulfilled hopes. Certainly modeled on the Hungarian Dances of Brahms, and not having tunes that leave you whistling, they nevertheless hold your attention through the variety of tempo and treatment they bring to...
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