One innovation contributed to chamber music by the classical genius Mozart was the addition of a second viola to the string quartet, thus creating the string quintet. Years later, the form became a serendipitous fit with Brahms’s fondness for the medium and low registers. This sound is often achieved through prominent writing for instruments such as the clarinet, with its dark, low range, the horn and, of course, the viola. Brahms’s chamber music features all three middle-to-low range instruments in works such as the clarinet trio and quintet, the horn trio, three string quartets, two string quintets, and two string sextets, along with two sonatas for clarinet and piano that were subsequently arranged for viola and piano.
The String Quintet no. 1, Op. 88, in F Major, a prime example of the rich, warm sound created by two violas, presents the perfect range for Brahms’s compositional voice. Brahms opens the first movement, Allegro non troppo ma con brio, with one violin, two violas and cello, exploiting their warmth. The movement is very romantic in its lush melodies and adventurous modulations. Brahms keeps the movement fresh with beautiful changes of texture, assigning melodic interest to all of the voices. In a bold move, he begins the second movement, Grave ed appassionato, in the key of C-sharp minor, very different from the opening movement in F Major. Scholars have determined that the second movement is based on an earlier piano work that Brahms wrote in Baroque style. The thematic material for the entire work is contained in this movement, making it central in conception as well as in order. Brahms begins the second movement with all the instruments, the cello being highest with the melody. He then shifts strikingly and unexpectedly from major in the first four measures to minor in the fifth measure. The slow material is followed by a lovely Allegretto with a light melody in the upper strings. The opening, slow material returns, followed by a change of key and texture with a fast Presto section. The opening, slow material returns a third and final time to end this unique movement. The third and last movement, Allegro energico, is overtly Baroque, seemingly a frugal allusion to Johann Sebastian Bach, as exemplified by the viola at the opening. The Baroque gradually fades into a lush, Brahms-ian texture with a change in key and rhythm. Throughout the movement, the music seems undecided whether it is a Baroque fugue or a Romantic finale. It pushes to the end in a tutti outburst in the home key of F Major.
Program Notes are by Kyle Blaha, a candidate for the Doctor of Musical Arts Degree at The Juilliard School and faculty member in the Juilliard Pre-College and Evening Division.