Taneyev seems to have become an examplar for high purpose and purity of musical intentions in Russia, although his music has rarely been played outside that country. The g minor quintet wasn't even well-known there. Perhaps the reason is the unusual dimensions of the work: It is practically a symphony for quintet, running 45 minutes, including an 18-minute opening movement. This movement is notable for its motive development: Indeed, its main melodic material seems to have been constructed mainly for the purpose of of providing motives, although the melodies of themselves are quite good ones. But it seems clear that Taneyev expected the listener to devote his main attention to how he works out the basic materials which are found in the opening slow introduction and in the two main themes: A rhapsodic first theme and a sweet and lyrical second subject. Together with the grand dimensions of the movement, these work out into surprisingly dramatic and varied music. The second movement is a shimmering scherzo. The third movement is a passacaglia, and there can be no doubt that it was studied well by Shostakovich, who wrote so many fine movements in that form. The theme, in ten notes, is simply a descending scale pattern with a couple of rhythmic breaks: A veritable multitude of variations using all sorts of compositional and performing techniques ensues. This movement alone is awe-inspiring in its technical achievement. The finale is a dramatic rondo driving to a powerful G Major conclusion. This is a remarkably fine work, which both entertains and reveals much even to unsophisticated listeners, yet continually yields amazing secrets to the experienced auditor on detailed rehearing. I want to call it an essential part of the repertoire, yet it clearly isn't; until it is regarded as essential, the repertoire for this noble genre of chamber music must be considered defective.

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