Franz Schubert Complete Works for Violin and Piano Julia
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Volume 1 Franz Schubert Complete Works for Violin and Piano Julia Fischer - Martin Helmchen HYBRID MUL TICHANNEL Franz Schubert (1797 – 1828) Franz Schubert (1797 – 1828) Schubert composed his Violin Sonatas Complete Works for Violin and Piano, Volume 1 in 1816, at a time in life when he was obliged he great similarity between the first to go into teaching. Actually, the main Sonata (Sonatina) for Violin and Piano in D major, D. 384 (Op. 137, No. 1) Tmovement (Allegro molto) of Franz reason was avoiding his military national 1 Allegro molto 4. 10 Schubert’s Sonata for Violin and Piano in service, rather than a genuine enthusiasm 2 Andante 4. 25 D major, D. 384 (Op. posth. 137, No. 1, dat- for the teaching profession. He dedicated 3 Allegro vivace 4. 00 ing from 1816) and the first movement of the sonatas to his brother Ferdinand, who Sonata (Sonatina) for Violin and Piano in A minor, D. 385 (Op. 137, No. 2) the Sonata for Piano and Violin in E minor, was three years older and also composed, 4 Allegro moderato 6. 48 K. 304 by Wolfgang Amadeus Mozart must although his real interest in life was playing 5 Andante 7. 29 have already been emphasised hundreds the organ. 6 Menuetto (Allegro) 2. 13 of times. The analogies are more than sim- One always hears that the three early 7 Allegro 4. 36 ply astonishing, they are essential – and at violin sonatas were “not yet true master- the same time, existential. Deliberately so: pieces”. Yet just a glance at the first pages of Sonata (Sonatina) for Violin and Piano in G minor, D. 408 (Op. 137, No. 3) because at the age of 19, Schubert had well the introductory movement (Allegro mod- 8 Allegro giusto 4. 46 outgrown the need to “crib”. Nevertheless, erato) of the Sonata for Violin and Piano in 9 Andante 4. 43 Schubert imitated his example in every A minor, D. 385 (Op. posth. 137, No. 2) is suf- 10 Menuetto (Allegro vivace) 2. 28 aspect of this Mozart-like movement, ficient to prove quite the contrary, without 11 Allegro moderato 4. 04 including the transitions, secondary motifs any doubt. For the history of music had by Rondo for Violin and Piano in B minor “Rondo Brillant”, D. 895 (Op. 70) and even in the manner he dealt with the no means progressed so far that a begin- 12 Andante - Allegro 14. 28 rests. And yet he achieved more than simply ning, as set out by Schubert, could have a “copy”. Schubert’s Allegro molto is a reflec- passed the listener by without having some Recording venue: Concertboerderij Valthermond, tion, a kind of “question set to music”: where effect. To begin a violin sonata with nine Julia Fischer, violin The Netherlands, (3-5/1/2009 & 3-5/7/2009) do I want to go? And the answer must be: I bars of solo piano (and not, as could be rea- Executive Producer: Job Maarse got there a long time since! Because all the sonably expected, just eight), at the same Martin Helmchen, piano Recording Producer: Sebastian Stein Balance Engineer: Jean-Marie Geijsen later characteristics that gradually emerged time by-passing any sense of the Classical Editing: Sebastian Stein to define his personality as a composer era, must have appeared overly confident Total playing time: 64. 31 Piano: Steinway & Sons D-274 Violin: Giovanni Battista Guadagnini, 1742 (i.e. abrupt stops, harmonic surprises, the and at times “too modern”, yes, even some- Piano-tuner during recording: Michel Brandjes, Ehud Loudar ecstasy of the moment vs. the dashing of what bizarre to Schubert’s contemporaries, hope) are already present here and are lead- if and when they came into contact with Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, veuillez consulter notre site. ing him, as it were, “through Mozart up to Schubert’s works. And Schubert “packages” www.pentatonemusic.com himself”. To Franz Schubert. his supposed “overconfidence” most skil- fully: the unisono melody in the descant the harmonic upbeat to the main theme in the unpleasant experiences he underwent is supported by an – at first – apparently G minor, which is presented in its entirety towards the end of his life, Schubert had conventional accompaniment in chords in – but now very calmly, in contrast – by the friends and acquaintances who helped the left hand. Nevertheless, even the chords piano solo. A beginning to the composition him along, from whose encouragement contain creative, anti-schoolmarmish is created in a masterly manner! and criticism he was able to draw strength dynamite, which would have caused any Only superficially does the second as a composer. The motives behind various conservative music teacher to shake his movement bring an easing of tension in works were quite superficial and compa- head in consternation. Particularly as the the warm key of E flat major (Andante). In rable to those of the present day: for all explosive music ignites expressively at such truth, renewed energy slumbers within the composers value a good première per- a very special moment, upon first entrance tangled web of the dialogue interwoven in formance of a new work. Both in the past of the violin, and now conclusively (and nev- the chamber music. However, this is shown and nowadays. Not least for this reason ertheless still right at the beginning!) tears to its best advantage here in a totally dif- does new music often come into being as apart the chamber-music-like tonal image… ferent way: i.e., as inscrutable. From bar 28 a result of a collaboration with, or even fol- The unisono theme at the beginning onwards, from that moment of eerie exalta- lowing a direct commission from renowned of the first movement (Allegro giusto) of tion onwards, the listener can at any rate no performers, who frequently enjoy a friendly the Sonata for Violin and Piano in G minor, longer be sure if leaning back and relaxing is relationship with the composer. D. 408 (Op. posth. 137, No. 3) demonstrates the right attitude to take when listening to that Schubert had a very special way of Schubert’s oh so early violin sonatas… Arno Lücker Julia Fischer dealing with “musical energies”: a synco- In 1826, Schubert met the Bohemian English translation: Fiona J. Stroker-Gale pated triad heading for the higher registers violinist Josef Slavik, who was making a ulia Fischer is ranked as one of the leading is followed by a close-fitting and heartrend- stopover in Vienna at the time. At first, the Jviolinists of the day, captivating audiences ing descent, which forces the energies composer provided him with typical ‘vir- world-wide with her music. She was born in surrounding the tone of D into the centre tuoso fodder’, in the form of his Rondo in B Munich in 1983, of German-Slovak parents, of attention. Thus the energy is forced minor, D. 895 (Op. 70, Rondeau brillant). and began her musical training at just four to discharge itself once again in some or It was no coincidence that this work mainly years old. At nine, she began receiving les- other direction: in just four syncopated emphasised the virtuoso side of the violin, sons from the renowned violin teacher Ana bars, the unisono passage strides towards as Slavik was known to be a true master at Chumachenco. In 2006, she was appointed the D octave situated just below, which his profession. (One year later, Schubert professor at the “Hochschule für Musik und once again contains energetic potential, wrote his Fantasy in C major, D. 934, a com- Darstellende Kunst” in Frankfurt am Main although a kind of provisional end has been position tailor-made for Slavik.) Winning the international Yehudi achieved. This is because the D octave forms Fortunately, one has to say, despite all Menuhin Competition in 1995, with the great violinist himself conducting, was Kreizberg, for the 2006/2007 season. Further Choc from the Monde de la Musique. Her a significant milestone in her lightning joint projects with Maestro Kreizberg recording of Bach’s Sonatas and Partitas career. The following year, she won the include her first appearance at the London for Solo Violin was even voted the BBC 8th Eurovision Competition for Young PROMS in summer 2008. Julia Fischer has Music Magazine Award as “Best Newcomer Instrumentalists. Since then, Julia Fischer so far recorded all her CDs with orchestral 2006” and the Diapason d’Or de l’Année. has performed with reputed conductors music together with Maestro Kreizberg. Meanwhile, PentaTone has released all and leading orchestras throughout the Other major conductors with whom Mozart Violin Concertos featuring Julia world. Many of her concerts have been Julia Fischer has performed include: Fischer with the Netherlands Chamber recorded for and/or broadcast live on radio Lorin Maazel, Christoph Eschenbach, Yuri Orchestra; Tchaikovky Violin Concerto with and television. Temirkanov, Sir Neville Marriner, David the Russian National Orchestra; Piano Trios Julia Fischer receives regular invitations Zinman, Jun Märkl, Emmanuel Krivine and by Mendelssohn-Bartholdy, together with from the Pittsburgh Symphony Orchestra, Marek Janowski. Daniel Müller-Schott and Jonathan Gilad; the National Symphony Orchestra in Julia Fischer is an ardent chamber musi- and the Brahms Violin Concerto and Double Washington D.C., the Philadelphia cian, and performs regularly with Jean-Yves Concerto, together with Daniel Müller- Orchestra and the New York Philharmonic Thibaudet, Martin Helmchen and Daniel Schott. Further recordings are soon to be Orchestra, among others, to perform in Müller-Schott, among others. She receives added to her discography. Martin Helmchen the USA. She also plays with the leading invitations to play at the major international Julia Fischer has also been concen- European orchestras, including the Vienna festivals, such as London’s Mostly Mozart trating on contemporary music.