Ignaz Brüll (1846-1907)

Brüll was born of Jewish parents in the Moravia provincial town of Prossnitz (Prostĕjov), but in 1850 his family moved to Vienna. During his early he gave numerous concert tours, and from 1872 he taught at the Horák Piano Schools in Vienna, becoming their artistic director in 1881. Brüll was recognised as an outstanding pianist, and gave many concert appearances in England, and his most successful work, the opera Das goldene Kreuz, was also performed in London. In later life he became an important part of the musical social scene, including Brahms's circle in Vienna, and often played with Brahms when he tried out his orchestral works.

Piano Concerto No.1 in F major Op.10

The first piano concerto was written in 1860-61 when he was about 15, an outstanding achievement. It was first performed in Vienna in 1861 by his teacher Julius Epstein, to whom it is dedicated. The work stayed in Brüll's repertoire for many years, as he apparently performed it on a visit to England in 1881. It is an amazingly attractive and assured work for such a young man, with all its aspects, including form, orchestration, and its piano writing handled with confidence and success. It's thematic material is memorable and intelligently handled, and while the piano part in glittering when required, it remains a work concerned more with maintaining its musical integrity than with virtuoso display. Despite being a youthful work, the concerto is certainly worth repeated hearings, and can stand comparison with similar concertos by such composers as Mendelssohn.

The work is in three movements. The opening movement is an allegro moderato dominated by the main theme, a strongly rhythmic and chordal subject similar in nature to the main theme of Alkan's concerto for solo piano. There are two further melodies during the first movement, both lyrical in nature, the third rhythmically based on the first theme. The form of the first movement is quite faithful to sonata form, with an orchestral introduction (a stunted exposition) stating the main theme and some subsidiary material which is intelligently used later in the movement. The second and third themes are given after the piano statement of the main theme, and there is little in the way of perfunctory piano passage work, unlike many early romantic piano concerto first movements. The development section, which includes the third theme, is well handled and underplayed, so that it effectively leads to a strong recap of the main theme, itself quickly leading to the recap of the second and third themes. Material from the orchestral introduction returns at this point and leads to a piano cadenza which mostly consists of lyrical but purposeful musings on familiar thematic material. It concludes with a climax and the orchestral return of the main theme with piano decoration. It takes a new twist and the movement ends with strong close.

The second movement (Andante) is based on a simple, doleful, Italianate melody which recalls some of Mendelssohn's Songs without Words. This undergoes several changes in mood, and is followed by a beautiful middle section which includes subtle and effective scoring for brass. The middle section leads to a lyrical climax with the orchestra, and a beautifully sunny string passage. After strong piano musings on the main theme, the music moves back to the mood of the opening, and eventually leads without a break to the third movement.

The Presto third movement is bright and excellently handled rondo, with a chirpy main theme, and two further themes, the third a beautifully lyrical theme sensitively and simply handled and acting as the middle episode. The form is essentially as follows:

- Main theme +

- Second theme

- Main theme +

- Third theme

- Tutti based on second theme

- Main theme +

- Second theme +

- Third theme

- Second theme

- Tutti based on second theme

The concerto ends strongly in high spirits, without being overblown. Although the concerto may seem a little four square, its forms a little too obviously defined, and a little limited in emotional and intellectual depth, it remains an excellently crafted concerto. Essentially conservative in style, and showing no groundbreaking originality (as one would expect from a 15 year old), it is nevertheless a significant achievement for a composer so young in his career and so little known beyond his associations with Brahms.

Piano Concerto No.2 in C major Op.24

Text

Andante and Allegro, Op.88

The Recordings

Text

Churches | Music | Basingstoke | Links | Email