Franz SCHUBERT

Franz SCHUBERT Chamber Music for Guitar, Flute, Viola and Cello Kamarimusiikkia kitaralle, huilulle, alttoviululle ja sellolle Jari Tarjasalo, Guitar – kitara Timo Pulakka, Flute – huilu Matti Hirvikangas, Viola – alttoviulu Mikko Ivars, Cello – sello 1 Franz SCHUBERT (1797-1828) Quartet for fl ute, guitar, viola and cello in G major, D96 1 Moderato 10:26 2 Menuetto 05:24 3 Lento e Patetico 05:56 4 Zingara 03:13 5 Tema con Variazioni 04:12 Sonata in A minor ”Arpeggione” D821. Arr. for fl ute and guitar. 6 Allegro moderato 10:53 7 Adagio 03:10 8 Allegretto 08:32 Six songs, arr. for solo guitar by Johann Kaspar Merz. 9 Lob der Thränen 03:13 10 Liebesbothschaft 03:01 11 Aufenthalt 03:19 12 Die Post 03:02 13 Ständchen 03:53 14 Das Fischermädchen 02:25 TT: 70:00 2 Quartet for fl ute, guitar, viola and cello in G major, D96 Franz Schubert’s Quartet for fl ute, guitar, viola and cello is an arrangement of Wenzel Matiegka’s (1773-1830) Trio for fl ute, viola and guitar. The original work, Notturno in G major Op. 21, was composed in 1807, and the theme in the concluding variations movement was taken from Friedrich Fleischmann’s well-known serenade. Schubert’s alterations include adding a cello part and composing another trio for the minuet. Schubert’s manuscript was found in 1918 in Zell am See, in the attic of a farmhouse. A great-uncle of the family living in the house had been a personal friend of the composer, and had presumably married the young guitarist for whom the guitar part was originally composed. The manuscript had undoubtedly been written by Schubert in his youth, but unfortunately at least the ending of the fi nal movement was never recovered. The neces- sary additions were made by Georg Kinsky, publisher of the original edition. The arrangement of Matiegka’s Trio was probably made by Schubert to be played among family and friends, and the cello part was then most likely performed by Schu- bert’s father. The Quartet is a very mature and pleasant composition and arrangement. It is also a good example of a work revealing the aptness and suitability of the guitar in chamber music ensembles. Guitar music had become increasingly important in the Viennese musical life during the beginning of the 19th Century, as many prominent guitar artists infl uenced in the area. The guitar Quartet, an important work of Schubert, also serves as an interesting musical example of the early 19th Century. Sonata in A minor “Arpeggione” D821. Arr. for fl ute and guitar. The Arpeggione Sonata was composed for piano and the arpeggione, or bowed guitar. The existence of the arpeggione was short-lived in the history of classical music, and Schubert’s Sonata remains the only notable composition for the instrument extant today. The Sonata has been arranged for various instruments, but is perhaps most commonly played on the cello and piano, although transcriptions for the viola or fl ute, accompanied by piano, are not uncommon. The arpeggione was invented in Vienna by J. G. Stauffer in 1823, and was made famous by the cellist Vincenz Schuster. Schubert composed his Sonata for the instrument a year later. The arpeggione, or Guitare d’Amour, was played like a cello or a viola da gamba, but resembled a classical guitar as it had six strings and the same tuning. The fl ute and guitar together in the arrangement produce a very interesting tone, and the transcription is also remarkable in a historical sense, as the arpeggione part is played on the fl ute and the piano part on classical guitar. The guitar/fl ute arrangement is demanding in both technique and interpretation, but is all together a well-balanced and elegant work of chamber music. 3 Six lieds for solo guitar - arr. by J. K. Mertz Lob der Thränen, Liebesbothsschaft, Aufenthalt, Die Post, Ständchen, Das Fischermäd- chen Arranging pieces for different instruments was common in the 19th Century. It was a way, before the invention of records and other modern technology, of distributing and bringing music to a wider audience. Especially opera and orchestral music were arranged for musicians and devotees alike. Most arrangements were typically made for the piano, both solo and duet arrangements, but transcriptions for guitar were not uncommon either. The majority of the arrangements remained rather similar to the original compositions. However, some, such as many opera paraphrases and fantasia pieces were developed into more independent works. Liszt, for example, made arrangements for piano of opera paraphrases, Beethoven’s symphonies and Schubert’s lieds. Inspired by earlier compositions, Johann Kaspar Mertz (1806-1856), a Pressburg (Bratislava) born guitar virtuoso, made many arrangements and independent works for the guitar. The six lieds arranged by Mertz were published in 1845. Liszt’s arrangements of the same songs for piano had been published fi ve years earlier. Mertz, who was active in Vienna, was infl uenced by both Schubert’s original compositions and the earlier arrangements made by Liszt. In part, he simply copied Liszt’s concepts and applied them to guitar, but the arrangements are, of course, for the most part, full of Mertz’s own ideas and interpretations. The lieds Liebesbothsschaft, Aufenthalt, Ständchen and Das Fischermädchen are originally from the Schwanengesang song cycle, published in 1828. Die Post is from Winter- reise, published in 1827 and Lob der Thränen is an independent work from 1822. Text by Mike Peltola Translation by Saara Anttinen Jari Tarjasalo began his guitar studies at the Lappeenranta Music Institute. He then continued under the guidance of Stepan Rak at the Jyväskylä Conservatory, and under Pekka Vesanen and Seppo Siirala at the Sibelius Academy. Tarjasalo graduated in 1987 and later studied with William Waters in Barcelona. Since his début in 1987, Tarjasalo has performed regularly both as a soloist and chamber musician in various countries such as Finland, France, Italy and the Netherlands. Since 1985, he has made recordings for YLE as well as released three CDs. Jari Tarjasalo is currently teaching guitar at the East Helsinki Music Institute. (Jari Tarjasalo plays a guitar made by Henner Hagenlocher, Granada, Spain.) Timo Pulakka began his fl ute studies at the Central Ostrobothnia Music Institute in Kokkola under the guidance of Erik Antere, followed by instruction under Juho Alvas. He then continued his studies with Mikael Helasvuo at the Sibelius Academy, where he completed his degree and made his début. Pulakka has since attended various courses, including summer courses held by Professor Karlheinz Zöller at the Salzburg Mozarteum. In 1986–96 Timo Pulakka served as Senior Lecturer in fl ute at the Helsinki Conservatory 4 of Music. He has been a member of the Orchestra of the Finnish National Opera since 1996, and is at present serving as principal fl ute. Pulakka has also been a member of the Savonlinna Opera Festival Orchestra since 1988. Pulakka has performed as a chamber musician in various ensembles such as the Avanti! Chamber Orchestra. Mikko Ivars studied cello at the Sibelius Academy under the direction of Martti Rousi and graduated with honors in 1995. He has since studied under Arto Noras, Boris Per- gamenchikowin, Ralph Kirshbaumin and Truls Mørk, among others. Ivars completed his Master of Music degree in 2000. Ivars has performed regularly both as a soloist and chamber musician at various music festivals in Finland, Russia, England, France, Belgium and Japan. He has performed as alternating solo cellist with the Tapiola Sinfonietta and Helsinki Philharmonic Orchestra. In 1997-2003 Ivars was assigned to the Orchestra of the Finnish National Opera, and has since 2003 been a member of the Finnish Radio Symphony Orchestra. Ivars is currently a solo cellist in the Virtuosi di Kuhmo Chamber Orchestra, and a member of the Avanti! Quartet. Matti Hirvikangas studied at the Sibelius Academy and Nordwestdeutsche Musikakad- emie under Bruno Giuranna and Tibor Varga. He has performed as viola soloist with the Tibor Varga Chamber Orchestra, Oslo Opera Orchestra and the Finnish Radio Symphony Orchestra, and since 1993, also with the Orchestra of the Finnish National Opera. Hir- vikangas is a member of the Jean Sibelius Quartet, and has performed both as a soloist and a chamber musician in various countries in Europe and Asia. Translation by Saara Anttinen Kvartetto huilulle, kitaralle, alttoviululle ja sellolle. G-duuri, D96. Franz Schubertin kvartetto huilulle, kitaralle, alttoviululle ja sellolle on säveltäjän sovitus Wenzel Matiegkan (1773-1830) triosta huilulle, alttoviululle ja kitaralle. Alkuperäinen teos on nimeltään Notturno G-duuri Op. 21 vuodelta 1807. Viimeisen variaatio-osan teeman Matiegka on ottanut Friedrich Fleischmannin tunnetusta serenadista. Schubert lisäsi sovitukseensa mm. sellon osuuden ja sävelsi menuettiin toisen trion. Teos löydettiin vasta vuonna 1918 erään maalaistalon ullakolta Zell am Seessä. Talon omistajaperheen isosetä oli kuulunut Schubertin ystäväpiiriin ja oli tiettävästi mennyt naimisiin saman kitaristineitosen kanssa, jolle sävellyksen kitaraosuus oli alunperin sävel- letty. Käsikirjoitus oli todistettavasti kahdeksantoistavuotiaan Schubertin käsialaa, mutta kadoksissa oli ainakin viimeisen osan loppu. Tarvittavat täydennykset teki ensimmäisen julkaisun toimittanut Georg Kinsky. Schubert teki sovituksen Matiegkan triosta todennäköisesti musisointitarpeisiin ys- tävien kesken, jolloin selloa tällaisissa kotoisissa tapahtumissa soitti Schubertin isä. Kvartetto on sävellyksenä ja sovituksena kypsä ja onnistunut. Soinniltaan kvartetto on hyvä esimerkki siitä, miten hyvin kitara sopii kamarimusiikkiyhtyeisiin. Kitaransoitto oli saavuttanut merkittävän osan wieniläisessä musiikkielämässä 1800-luvun alkuun men- 5 nessä, jolloin kaupungissa vaikutti monia merkittäviä kitarataiteilijoita. Kitarakvarteton merkitys Schubertin tuotannossa nousee näin ollen esiin myös 1800-luvun alkuvuosien mielenkiintoisena musiikillisena esimerkkinä ja ajankuvana. Sonaatti ”Arpeggione” D821, sov. huilulle ja kitaralle. Arpeggione-sonaatti on sävelletty arpeggionelle ja pianolle. Arpeggione -soitin jäi mu- siikin historiassa hyvin lyhytaikaiseksi ja tämä sonaatti on ainut nykyään tunnettu tälle soittimelle sävelletty teos.

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