Eduard Franck? Eduard? This little-known composer’s work was
largely forgotten after his death. Some of his compositions
were lost and none were published between 1860 and 1882. Malcolm
Mansfield’s excellent notes for this welcome album do not reveal
the dates of composition of these pieces and a trawl of the
internet has revealed only minimal information, that’s why I
have had to append question marks in the header above.
The composer’s descendants have intimated that Eduard’s obsessive
need to perfect his works may have contributed to the delay
in releasing his music. Other possible explanations for the
neglect may include the mid-19th century conflict
of musical styles: Eduard Franck was greatly influenced by Mendelssohn
and, to a lesser extent, by Schumann. In fact he played four-hand
piano concerts with Mendelssohn and befriended Schumann. By
the time his works were published inflated Late-Romanticism
was in vogue and Franck’s music would have been considered passé
in some circles. Then, the fact that he was Jewish may have
weighed against him.
All this is a great pity because these works are quite delightful,
not only harmonically interesting, but appealingly tuneful and
all in the brighter major keys.
The Piano Trio is very much influenced by Mendelssohn. It’s
opening movement trips along brightly. The themes are strong
and attractively stated with a finely judged balance between
the instruments. The Mendelssohn influence is very strong in
the impish Scherzo which is a joyful four-minute canter with
a more meditative but unclouded middle section. The Andante
con moto third movement with its sentimental turns
of phrase and its lovely main theme announced by the violin
over a deep cello ostinato is heart-warming. Altogether this
movement had my imagination conjuring a scene where the forlorn
and indignant meet amid an over-heated, over-furnished Victorian
drawing room. The final Allegro molto vivace with its
fine piano passages and rapid rhythmic motives is more akin
to Schumann.
The four-movement Cello Sonata is a stronger piece and deeper
emotionally. The two instruments are favoured equally. To quote
Mansfield, “Franck cleverly resolves the inequalities in balance
between the more powerful piano and the cello by alternating
the cello’s material between its upper and lower registers As
a result the cello freely sings but can also act as a bass foundation
for the piano.” The opening Allegro is lyrical but
at the same time strongly resolute. The Scherzo is another four-and-a-half
minute gem, the cello cantering, the piano dancing away merrily
and only briefly slowed by a more plaintive central section.
The Adagio molto espressivo slow movement
continues and exquisitely extends the plaintive atmosphere,
the cello singing a most affecting melody. The whole is rounded
off with a delightful Presto.
The Violin Sonata is another likeable work. It exploits the
tonal brilliance of the violin and shows off virtuosic piano
passages. Its sunny opening Allegro is very appealing
with sweeping melodic material. The lullaby-like opening of
the Andante con moto enchants before the music lilts
its way forward. Another bright and sunny Scherzo is included
this time with folk idioms quite forward. The Allegro espressivo
finale rounds off the programme sentimentally.
Although this music is not earth-shaking it is quite delightful.
It is shameful that it has
been so neglected.
Ian Lace
See also reviews of Eduard Franck’s orchestral music on Audite:
String
quartet etc; Violin
concerto; Symphony
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Shmuel Ashkenasi (violin); Yehuda Hanani (cello); James Tocco (piano)