Ferdinand Thieriot: Chamber Music, Volume Three
The Hamburg-born Ferdinand Thieriot (1838–1919) not only shared a teacher – Eduard Marxsen – with Brahms; both composers use a very similar musical language, one which is richly melodic and effortlessly contrapuntal. The musicologist Wilhelm Altmann wrote that ‘Thieriot’s chamber music is without exception noble and pure. He writes with perfect command of form and expression’ – as the works on this third Toccata Classics volume prove, in their exquisite balance of depth and beauty.
Amadeus Chamber Musicians
Dmitriy Daniel Askerov, violin
Jenny Joelson, viola
Luzi Dubs, cello
Rebecca Ineichen, piano
Listen To This Recording:
Piano Quartet No. 3 in G minor (1905) (33:35)
- I. Allegro (12:43)
- II. Menuett, tempo moderato (5:16)
- III. Adagio (8:15)
- IV. Allegro con brio (9:19)
Piano Quartet No. 4 in F major (1913) (34:16)
- I. Allegro moderato (11:58)
- II. Adagio (6:40)
- III. Scherzo. Molto Allegro (6:55)
- IV. Grave – Allegro (8:43)
First Recordings
MusicWeb International :
‘The Amadeus Chamber Musicians deliver performances of high order and respond to these delightful and well-crafted works with virtuoso performances. Throughout, we hear sound of extraordinarily fine quality, and the liner notes do full justice to this top-notch production.’
—Stephen Greenbank, MusicWeb International
American Record Guide :
‘[Quartet 4’s first movement] develops its material via a wealth of thought and detail to a powerful and logical ending. The meditative slow movement is emotionally grave but not depressing. […] [The finale] worked out with completely accomplished art. […]
The performances sound fine to me; vigorously played in music that needs such an asset. Recorded sound is resonant and close-up. William Melton’s notes are, as always, excellent. […]
The music historian Wilhelm Altmann summed up these works perfectly: “Although it is not the work of a fiery spirit who stirs and shakes us to the depth of our being, it nevertheless offers noble and dignified music through all, conceived with the most perfect command of form and expression.” ‘
—Don O’Connor, American Record Guide, February 2025
Scherzo :
‘Hamburgés y cinco años más joven que su amigo y protector Brahms, sólo el redescubrimiento en fechas muy recientes de gran parte de su enorme catálogo inédito ha motivado que la música de Thieriot haya carecido de la difusión que merece. Todo brahmsiano disfrutará con estos magníficos cuartetos fechados en 1905 y 1913: ambos demuestran que su autor pudo ser epigonal pero no menor.’
—Juan Manuel Viana, Scherzo, February 2025