Gernsheim

Praised for his ‘passion and sensitivity’ by the BBC Music Magazine for his recording of the concertos by Dohnányi, Enescu & d’Albert, Alban now turns his attention to works by four of his compatriots: Robert Schumann, Friedrich Gernsheim, Robert Volkmann and Albert Dietrich. This collective, along with Johannes Brahms, were all friends and colleagues, each achieving considerable success in their lifetime, yet it is only Schumann and Brahms who have managed to hold onto that mantle through to the present day. Even Schumann’s Cello Concerto, written in 1850, remained unperformed until 1860 and it wasn’t until the early twentieth century that, thanks to Pablo Casals, it secured its rightful place in the repertoire.

Listeners should not come to these symphonies expecting works worthy of Brahms, Mendelssohn and Schumann. They lack the melodic inspiration of these composers and the ingenuity of development and form of Schumann and Brahms. Having noted this, they are still fine symphonies, worth an occasional listen. The orchestration is very similar in places to Brahms, so that if you're not listening very closely, you might think actually think you're hearing an obscure Brahms orchestral piece, perhaps a discarded movement from the First Serenade.

Anna Gann (soprano) and Naoko Christ-Kato (piano), the two musicians of Gernsheim Duo, present sensational finds on their GENUIN CD. The 22 lieder by Friedrich Gernsheim, which they interpret with high sensitivity and insight, are recorded here for the first time. The composer is one of those Jewish musicians who was influential before the Holocaust and is almost forgotten today. The Gernsheim Duo is committed to the musical works of such composers and deserves praise for their efforts! The historical and musical value of these lieder, which have been meticulously compiled, cannot be overestimated⁠—and the mastery of the two interpreters does them justice.

The composer Friedrich Gernsheim, who was highly respected during his lifetime, is largely unknown today. Yet, especially in his choral compositions, he broke away from traditional ideas of form at an early stage and was thus ahead of many of his contemporaries. With this recording, Tristan Meister and Vox Quadrata have set themselves the goal of bringing the forgotten choral works of the Jewish composer back into the public consciousness.

After Volume 1, which was awarded a Diapason d'or, Mariani Klavierquartett continues its journey of discovery, juxtaposing the piano quartets of Johannes Brahms and Friedrich Gernsheim. Although this second album is dominated by Brahms's luminescent A-Major Quartet " his longest " and although the friendship of the two composers stands at the center of this three-part project, Gernsheim's F-Major Quartet shows that not only Brahms numbered among his influences, but that Gernsheim was also able to blend echoes of Beethoven, Mendelssohn, and Schubert into a convincing personal style. In the hands of the Mariani Piano Quartet, the formal perfection of his fervent work gleams with undreamt-of power.