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With a mission of welcoming and inclusivity, I’m always interested to hear what Kaleidoscope Chamber Collective is up to. And while I’m a mega-fan of Brahms, I’m most struck by their recording of Louise Héritte-Viardot’s first Piano Quartet, Im Sommer. It’s a programmatic work, something not seen often in Romantic Era chamber music. The summery music describes nature scenes in summertime, including an expansive forest, flittering butterflies, and a peasant dance. It’s well worth a listen.

Kristina LynnHost

Kaleidoscope Chamber Collective continues its series with this recording of Johannes Brahms’s Third Piano Quartet, alongside Piano Quartet No. 1 of Louise Héritte-Viardot. The Third Piano Quartet gestated for a long time – the first sketches were made in 1855, whilst the work was not completed until 1875. Numerous commentators tie the work to the composer’s infatuation with Clara Schumann, who certainly heard many of the various iterations of the piece before its final version. But Brahms did not write program music, and whatever his motivations may or may not have been, the result is, like the rest of his output, pure music.

Louise Héritte-Viardot was a French singer, pianist, conductor, and composer. She was born in Paris, the eldest child of Pauline Viardot-Garcia and Louis Viardot, and sister to the violinist and conductor Paul Viardot. Her singing career was cut short by illness, but with the help of Clara Schumann she found a second career as a singing teacher in Frankfurt. In contrast to the Brahms Quartet, Viardot’s work is extremely programmatic. Titled Im Sommer (In Summer), it comprises four movements which also carry evocative titles: “Morning, in the Woods,” “Flies and Butterflies,” “Sultriness,” and “Evening, under the Oak-tree.”

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