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570790bk Thuille US:570034bk Hasse 2/6/09 6:10 PM Page 4 Chantily Quintet At the ARD International music competition in Ludwig Munich in 2006 the Chantily Quintet was awarded second prize, the special prize for the best interpretation of the commissioned work THUILLE and the Audience Prize. Since then the ensemble has rapidly risen to a leading position in its field. Its members hold solo positions in the Munich Philharmonic Orchestra, the Konzerthaus Sextet • Piano Quintet Orchestra in Berlin and the Radio Symphony Orchestra of Berlin, and the work of the ensemble has been much influenced by the Chantily Quintet • Gigli Quartet conductor Marek Janowksi. Performances by the Chantily Quintet at the Konzerthaus and the Gianluca Luisi, Piano Philharmonie in Berlin were received with enthusiasm and the ensemble has performed at the ARD Chamber Music Festival at Schloss Elmau and in the Winners and Masters concert series in Munich and Berlin. At the invitation of the Goethe Institute, the Chantily Quintet gave a gala concert during the millennium celebrations in Addis Ababa in Ethiopia, and has held workshops and performed in several countries of Eastern Africa. The quintet has also earned a reputation for its master-classes at various European Academies of Music. The Chantily Quintet released its first recording, in collaboration with Bavarian Radio, in 2008, with works of Mozart and Beethoven, for the Profil Edition Günter Hänssler label, for which further recordings have been planned. Gigli Quartet The Gigli Quartet owes its name to the famous tenor Beniamino Gigli. The first violin is Marco Rogliano, one of the most distinguished violinists of his generation. He has won many international awards and played in leading concert halls, including the Moscow Tchaikovsky Hall, Carnegie Hall in New York and La Scala in Milan, collaborating with major orchestras. Judith Hamza, who plays second violin has for more than twenty years been Photo: Bruno Mazzocchetti Photo: Catherina Hess a member of the Italian chamber orchestra I Solisti Aquilani, where, since 1999, she has served as concertmaster. The violist Luca Sanzò has played in major concert halls throughout the world. He is a member of the C Freon Group, Italy, specialising in the music of the twentieth century. The cellist Sabine Krams is principal M cellist of the Frankfurt Opera. She is member of the Grüneburg Trio and of the Ensemble Concertant Frankfurt. www.polomusicmanagement.com Y K 8.570790 4 570790bk Thuille US:570034bk Hasse 2/6/09 6:10 PM Page 2 Ludwig Thuille (1861–1907) Gavotte theme, the original key restored. In the Finale the meditatively by the strings, the first violin con gran’ Sextet in B flat major, Op. 6 • Piano Quintet in E flat major, Op. 20 piano states the lively principal theme, over the repeated espressione, with a theme that is developed before a central notes of flute, oboe and clarinet, with flute and clarinet B minor passage marked agitato, but moving through The German composer and teacher Ludwig Thuille seems servative aspect of his composition, distancing him from then taking over the melody. The horn offers a secondary music of greater tranquillity. The main theme gradually to have been unjustly relegated to a footnote in accounts Strauss, with whom, nevertheless, he remained on friendly theme and the material is developed, before its due makes its return, at first in the key of B flat, leading to the of the early life of his friend Richard Strauss. Thuille was terms until his early death in 1907. A leader of the so- recapitulation, the varied instruments always handled with re-establishment of the original key and the emphatic born in 1861 in Bozen (Bolzano), the son of a book and art called Munich School that reflected the influences of deft mastery. statement of the melody. The movement ends with a gentle dealer, but was orphaned in childhood, with the death of Rheinberger and of Liszt and Wagner, Thuille wrote choral Thuille’s Piano Quintet in E flat major, Op. 20, his coda. The C minor third movement is a scherzo in all but his mother in 1867 and of his father in 1872. He had his music and songs. His operas included two fairy-tale works, second attempt at the form, dates from the years 1897- name, with a more lyrical trio section marked Poco meno early piano lessons from his father, and became a chorister Lobetanz and Gugeline, with libretti by the writer and 1901 and was dedicated to the composer and conductor mosso. The ending brings its own surprising dynamic at the Benedictine foundation at Kremsmünster, assuring editor Otto Julius Bierbaum that had originally, it seems, Max Schillings, by then a figure of some importance in the contrasts. The piano starts the Finale with a cadenza, him a free place at the associated gymnasium, where he been intended for Strauss, and his orchestral works include musical life of Munich. The work was eagerly anticipated before the sonata-form movement is launched. Its studied the piano and violin, and developed his early a piano concerto, a symphony and a Romantic Overture. and won general approval from Thuille’s immediate development introduces a fugato, played pizzicato, and interests in composition. In 1876 he settled in Innsbruck At the same time he made a then significant contribution contemporaries. The extended first movement, marked started by the viola, followed by the second violin, the with his married half-sister. Here he received encourage- to chamber music and to a lesser extent to solo piano Allegro con brio, is broadly in sonata form, with innovative first, the cello and finally the piano, the right hand and ment from Pauline Nagiller, widow of the musician and music. At the time of his death he was preparing for modifications to the structure of the recapitulation. The then the left. A further fugal passage leads to the composer Matthäus Nagiller, and was able to study with publication his important Harmonielehre, a collaboration music is compelling in its sweep and dramatic contrasts recapitulation and a triumphant conclusion. a pupil of Bruckner. The following year, through Josepha with Rudolf Louis, a work later edited by his former pupil and masterly in its use of instrumental resources. The piano Strauss, mother of Richard Strauss, and her husband Franz, Walter Courvoisier, who married Thuille’s daughter. duly opens the B major Adagio assai sostenuto, followed Keith Anderson on holiday in Innsbruck, Thuille met Richard Strauss, with Thuille wrote his Sextet in B flat major, Op.6, scored for whom he struck up an important friendship, and it was flute, oboe, clarinet, horn, bassoon and piano, in the years through Franz Strauss that he later found a place at the 1886-88. The sonata-form Allegro moderato entrusts the Gianluca Luisi Royal Music School in Munich. Three years Richard principal theme first to the horn, which enters over the Gianluca Luisi studied with Franco Scala at the Academy of Music in the Italian Strauss’s senior, Thuille continued to correspond from discreet murmur of the piano, to be followed by the clarinet city of Imola. He has won many national and international piano competitions, Innsbruck with Richard Strauss, and their correspondence and then the flute and bassoon, before the emphatic including the Casella International Competition in Italy, and the J.S. Bach has been much quoted as evidence of the young Strauss’s statement of the theme by the piano. The second subject is International Piano Competition in Saarbrüucken. He has given many solo early conservative tendencies and prejudices, with only given first to the clarinet, followed by the flute, continued performances in some of the greatest concert halls and leading international music the letters of Strauss surviving. In 1879 Thuille moved to by the oboe. The instruments are further deployed in festivals, including Carnegie Hall, New York, the Musikverein, Vienna, and the Munich, studying there at the Royal Music School under contrast and in conjunction, handled with the greatest Photo: David M. Peters Schleswig Holstein Music Festival, Hamburg. He has played also with famous Rheinberger and Karl Bärmann. At the same time he was technical skill, before the bassoon and horn return to the orchestras. He has a very wide and interesting repertoire, which includes the influenced, as was Strauss, by contact with the Wagnerian main theme in recapitulation. The horn in E flat, replacing complete cycle of The Well-Tempered Clavier of J. S. Bach. He recently played in Alexander Ritter, whom Strauss had first known in the earlier F horn, proposes the main theme of the slow Neuhardenberg, Berlin, the complete cycle of the nine Beethoven Symphonies in Meiningen. On graduation Thuille started work as a private movement, accompanied by the chords of the piano, which the Liszt transcription for two and four hands, with the pianist Konstantin music-teacher, before his appointment in 1883 to the Royal then continues the theme, soon to be taken up by the Scherbakov. Gianluca Luisi is a Bösendorfer artist. www.gianlucaluisi.com Music School as a teacher of piano and harmony. In 1890 clarinet. A more sombre passage follows, in E flat minor, he was appointed professor and in 1893 succeeded his with an expressive link to the return of the main theme. The teacher Rheinberger as professor of composition. Thuille third movement, a G minor Gavotte, marked Andante, enjoyed an early career in Munich as a pianist, particularly quasi Allegretto, entrusts its theme first to the oboe, in chamber music, and from 1889 won a reputation as followed by the flute and bassoon, to be continued by the conductor of a men’s choir, Liederhort, while earning oboe and clarinet and then the piano.

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