Unlimited Streaming
Listen to this album in high quality now on our apps
Start my trial period and start listening to this albumEnjoy this album on Qobuz apps with your subscription
SubscribeEnjoy this album on Qobuz apps with your subscription
Digital Download
Purchase and download this album in a wide variety of formats depending on your needs.
Nineteenth century German composer Friedrich Kiel isn't at the top of anyone's list of the musical giants, though he hasn't lacked for attention on recordings and even has a twenty first century publisher, Dohr in Cologne, to make the republication of Kiel's work a frontline priority. During his lifetime, Kiel was reckoned by some to be second only to Johannes Brahms in the composition of chamber music; however, since his demise in an unspecified "traffic accident" in 1885, Kiel's work and reputation haven't fared so well. Kiel doesn't even merit a biography in the encyclopedia Grove's Dictionary of Music and Musicians; Baker's Biographical Dictionary does mention him, but mainly for his importance as a teacher rather than for his compositions.
Kiel composed three piano quintets, numbered Opp. 43-44 and 50 and published in 1867 and 1868, though were likely composed together and perhaps somewhat earlier. The best known of the three in Kiel's time was the First in A minor; this is also the longest of piano quartets and the most thematically varied. Superficially, they sound close to Beethoven, though they are in the main predictable, emotionally detached, and lacking in the profound psychological elements we experience in Beethoven. That's not to say these quartets lack strong themes, sensible development, attractiveness, and a kind of gracious charm; they do have such qualities, but they don't go much deeper than that. This is not due to a half-baked performance, as the pieces are rendered very well, and some may recognize the name of redoubtable violinist Ulrike-Anima Mathé among the participants, though the recording tends to favor pianist Oliver Triendl over the others.
For those who have a deep abiding interest in nineteenth century chamber literature and the so-called "school of Brahms," this may well provide an interesting byway, but bear in mind that compared to Brahms, Kiel is something of a reactionary. It does no harm to revive the music of Kiel, and there are many composers unfairly judged in posterity whose work was found ripe for rediscovery at some point later. In the case of Kiel, though, the conventional wisdom seems to hold up, and if his main achievement was indeed in chamber music, one wonders why he wouldn't be able to "bring it" in a cycle of three piano quartets that appeared near the peak of his ability.
© TiVo
You are currently listening to samples.
Listen to over 100 million songs with an unlimited streaming plan.
Listen to this playlist and more than 100 million songs with our unlimited streaming plans.
From $16.65/month
Piano Quartet No. 1 in A minor, Op. 43 (Friedrich Kiel)
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Xenia Jankovic, cello - Oliver Triendl, piano - Hariolf Schlichtig, viola
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Piano Quartet No. 2 in E major, Op. 44 (Friedrich Kiel)
Oliver Triendl, piano - Hariolf Schlichtig, viola - Oliver Triendl, piano - Xenia Jankovic, cello
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Xenia Jankovic, cello - Hariolf Schlichtig, viola - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Piano Quartet No. 3 in G major, Op. 50 (Friedrich Kiel)
Oliver Triendl, piano - Hariolf Schlichtig, viola - Oliver Triendl, piano - Xenia Jankovic, cello
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Oliver Triendl, piano - Hariolf Schlichtig, viola - Xenia Jankovic, cello - Oliver Triendl, piano
(C) 2007 CPO (P) 2007 CPO
Album review
Nineteenth century German composer Friedrich Kiel isn't at the top of anyone's list of the musical giants, though he hasn't lacked for attention on recordings and even has a twenty first century publisher, Dohr in Cologne, to make the republication of Kiel's work a frontline priority. During his lifetime, Kiel was reckoned by some to be second only to Johannes Brahms in the composition of chamber music; however, since his demise in an unspecified "traffic accident" in 1885, Kiel's work and reputation haven't fared so well. Kiel doesn't even merit a biography in the encyclopedia Grove's Dictionary of Music and Musicians; Baker's Biographical Dictionary does mention him, but mainly for his importance as a teacher rather than for his compositions.
Kiel composed three piano quintets, numbered Opp. 43-44 and 50 and published in 1867 and 1868, though were likely composed together and perhaps somewhat earlier. The best known of the three in Kiel's time was the First in A minor; this is also the longest of piano quartets and the most thematically varied. Superficially, they sound close to Beethoven, though they are in the main predictable, emotionally detached, and lacking in the profound psychological elements we experience in Beethoven. That's not to say these quartets lack strong themes, sensible development, attractiveness, and a kind of gracious charm; they do have such qualities, but they don't go much deeper than that. This is not due to a half-baked performance, as the pieces are rendered very well, and some may recognize the name of redoubtable violinist Ulrike-Anima Mathé among the participants, though the recording tends to favor pianist Oliver Triendl over the others.
For those who have a deep abiding interest in nineteenth century chamber literature and the so-called "school of Brahms," this may well provide an interesting byway, but bear in mind that compared to Brahms, Kiel is something of a reactionary. It does no harm to revive the music of Kiel, and there are many composers unfairly judged in posterity whose work was found ripe for rediscovery at some point later. In the case of Kiel, though, the conventional wisdom seems to hold up, and if his main achievement was indeed in chamber music, one wonders why he wouldn't be able to "bring it" in a cycle of three piano quartets that appeared near the peak of his ability.
© TiVo
About the album
- 1 disc(s) - 11 track(s)
- Total length: 01:17:39
- Main artists: Mathé Ulrike-Anima Hariolf Schlichtig Xenia Jankovic Oliver Triendl
- Composer: Friedrich Kiel
- Label: CPO
- Genre: Classical Chamber Music
(C) 2007 CPO (P) 2007 CPO
Improve album informationWhy buy on Qobuz...
-
Stream or download your music
Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions.
-
Zero DRM
The downloaded files belong to you, without any usage limit. You can download them as many times as you like.
-
Choose the format best suited for you
Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF...) depending on your needs.
-
Listen to your purchases on our apps
Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go.