SCHULHOFF COMPLETE MUSIC FOR VIOLIN AND PIANO

Bruno Monteiro violin · João Paulo Santos piano Erwin Schulhoff (1894-1942) Erwin Schulhoff Complete Music for Violin and Piano Complete Music for Violin and Piano The Czech composer and pianist Erwin Schulhoff came from a family of German descent. From an early age, he displayed musical talent and accomplishment and was encouraged to pursue official studies in music, which he began at the Conservatory in Suite for Violin and Piano WV18 Sonata for Solo Violin WV83 Prague when he was 10 years old. Piano and compositional studies then followed in 1. Präludium: Stürmisch 4'03 10. Allegro con fuoco 2'17 Vienna, Leipzig and Cologne, where his teachers included, among others, Willi Thern, 2. Gavotte: Mäßig 4'03 11. Andante sostenuto 5'20 Max Reger, Fritz Steinbach and (for a short time) Debussy. The culmination of these 3. Menuetto 4'15 12. Scherzo: Allegretto grazioso 2'44 years of study came as Schulhoff received the Wüllner and Mendelssohn prizes, both 4. Walzer 4'02 13. Allegro risoluto 3'05 awarded in 1913. 5. Scherzo 5'49 Historical events that shaped Europe in the first half of the twentieth century Sonata No.2 for Violin and Piano also exerted an important influence on Schulhoff’s professional life and creative Sonata No.1 for Violin and Piano WV91 choices. The post-Romantic influence, evident in the first phase of Schulhoff’s work, WV24 14. Allegro impetuoso 6'42 was substituted by a radically different style due to a profound alteration of the 6. Wuchtig 6'36 15. Andante 5'10 composer’s personal convictions after his experience fighting on the front lines in 7. Ruhig 4'35 16. Burlesca: Allegretto 2'41 World War I. Political and musical options would become quite salient in this new 8. Scherzo: Bewegt 2'52 17. Allegro risoluto 3'53 creative phase, which lasted until the beginning of the 1920s. 9. Rondo: Nicht zu schnell 7'41 Residing temporarily in Dresden, Schulhoff came into contact with a series of figures associated with the artistic trends of the avant-garde, offering him the new musical solutions he was seeking. He would work, throughout the following years, Bruno Monteiro violin · João Paulo Santos piano in two extreme aesthetics: atonality and the rhythmic emancipation associated with the Second Viennese School, and at the same time, the absurdity and spontaneity of the Dada movement. Jazz was another important discovery from this time and its influence would be notable and lasting for Schulhoff. The return to his native land, in 1923, would mark a new phase, characterized by the discovery and cultivation of Czech folk music. Schulhoff synthesized this music Total time: 76'36 with other elements, like jazz or the neoclassical style. The compositions written Recording: 26-28 April 2016, Igreja da Cartuxa, Caxias, Portugal during this phase are among his most frequently performed works. It was during this Producer: Bruno Monteiro Engineer and Editor: José Fortes time that he received the greatest professional recognition on an international stage. Artists photos: Inês Monteiro (Bruno Monteiro); Alfredo Rocha (João Paulo Santos) Cover: Garden Wall, by Antonin Slavicek p & © 2016 Brilliant Classics The final part of his career, beginning in the 1930s, is marked by ever-increasing with whom Schulhoff was in contact, even though briefly. In the editorial preface to difficulties that resulted from his Jewish heritage and his decision to sound his this sonata, Vlastimil Musil describes it as “a work that bears the mark of Schulhoff political choices clearly through his music. Having obtained citizenship in the Soviet searching for his own musical language.” Union, he was unable to flee Czechoslovakia, where he was captured by the Nazi The influence of Debussy can be witnessed immediately in the first movement, regime. He died in a concentration camp in 1942. precisely in the exploration of unconventional harmonies. The Allegro risoluto displays a sonata form, alternating the initial motive, with its dotted and marked rhythm, with Suite for Violin and Piano WV18 another, of a lyrical character. The second moment is almost an aria for the violin, After rejecting 20 previous works, this piece was designated by the composer as op. cantabile and expressive, accompanied by the piano. The final two movements are less 1 and dates from 1911. This work exhibits eighteenth century influences. In terms harmonically daring, and, from a formal point of view, recognizable as belonging to of form, it is reminiscent of the classical structure of its genre: a prelude followed by the traditional genres of scherzo and trio, and rondo. The middle section of the scherzo three dances, closing with a scherzo. From a stylistic point of view, the late-Romantic does not leave much room for tranquility between its two anxious external sections. model is quite evident in a work that, while tonal, explores chromaticism. Curiously, The piano harmonies in the finalAllegro molto again recall Debussy. The compound this suite was only published in 2004. meter of the Rondo’s first theme dominates here, exploring, once again, the alternation The prelude, espressivo, explores a brief rhythmic motive, played by the violin, between passages of highly contrasting character. which is, at times, echoed by the piano. The first two dance movements,gavotte and minuet (with trio), display the perfection and elegance traditionally associated with Sonata for Solo Violin WV83 the classical canon in terms of both rhythm and stylized character, and could hardly Schulhoff’s return to Prague in 1923 corresponds to a new phase in his career, defined remind one more of this genre. The personal stamp of Schulhoff is apparent primarily by both professional recognition – especially as a virtuoso pianist and performer of in the intermediate sections of these movements: the high pedal tone of the violin contemporary repertoire – as well as by the new creative options in his compositions. in the gavotte and the trio of the minuet. The waltz, obeying the expected ternary The manuscript of this sonata contains the annotation: “Paris – London, January rhythm, is already freer in terms of style. In the original score, the Scherzo bears the 1927.” It was published the following year. indication, “Dance of the little devils,” an effective description of its main theme’s While other works from this time show a notable influence from jazz, the personal character. The lyrical trio brings contrast to this movement. discovery of traditional Czech music is more evident here. The entire sonata is characterized by its constant exploration of the technical and expressive capacities Sonata No.1 for Violin and Piano WV24 of the violin. The first of these traits is evident in the virtuosic and energetic opening This sonata, still from the pre-World War I period (1913), already displays movement. The Andante cantabile adds an expressive aspect to the discourse. The considerable differences from the previous work, above all in terms of harmony. presentation of all twelve tones of the chromatic scale in its initial theme recalls the The influence of new musical languages is apparent here, especially that of Debussy, Second Viennese School, an important influence on Schulhoff during the post-war period. In the Scherzo, the repeated passages in perfect fifths are rapidly intercut with Erwin Schulhoff Integral da obra para Violino e Piano a new motive that brings contrast, especially in terms of texture, using melody and – Compositor e pianista checo de descendência alemã. Revelando, desde cedo, briefly – pizzicato. The reiterated use of the augmented fourth in the final movement particular interesse e talento musicais é encorajado a prosseguir estudos oficiais de reflects the inspiration from traditional Eastern European music. By this time, the música, que inicia no Conservatório de Praga aos 10 anos. A formação em piano e influence of Janácˇek was very important for Schulhoff, who had, in 1925, dedicated em composição prosseguem em Viena, Leipzig e Colónia tendo como mestres, entre his duo for violin and cello to the older composer. outros, Willi Thern, Max Reger, Fritz Steinbach e (num breve período) Debussy. O culminar destes anos de estudos vem com o prémio Wüllner e o prémio Mendelssohn Sonata No.2 for Violin and Piano WV91 para piano, ambos em 1913. The second sonata for violin and piano was composed in November of 1927, but was A vida profissional, bem como as opções criativas de Schulhoff serão extremamente premiered only in 1929. The influence of folk music is clearly discernible here in the influenciadas pelos acontecimentos históricos que marcam a Europa na primeira work’s dance-like character. metade do século XX. A influência pós-Romântica, evidente numa fase inicial, será The first movement, full of vigor, thrives on the exhaustive exploration of its substituída por um estilo radicalmente diferente, fruto de uma profunda alteração initial rhythmic cell, a motive that permeates the entire work. This implacable energy de convicções pessoais após a experiência na frente de combate durante a Primeira is not limited to the violin, but also infects the piano, which continues the frenzy Guerra Mundial. As opções políticas e musicais tornar-se-ão muito claras numa nova of sixteenth notes over a melody that, for a brief instant turns more lyrical, but fase criativa, que durará até ao início dos anos 20. immediately returns to the initial idea. In 2011, the violinist Daniel Hope described Temporariamente instalado em Dresden, Schulhoff toma contacto com uma série the Andante of this sonata as “the most powerful and dramatic slow movement de personalidades ligadas às correntes artísticas de vanguarda, que lhe fornecem a imaginable.” This dramatic character results from the slow pulsation and unchanging inspiração para as novas soluções musicais que procura. Trabalhará, nos anos seguintes, piano chords which sound against a deeply expressive violin, creating a completely em dois extremos estéticos: o atonalismo e emancipação rítmica da Segunda Escola different context for the same rhythmic cell from the previous movement. The initial de Viena e, em simultâneo, o ilogismo e a espontaneidade da corrente dadaísta. Uma motive reappears in the Burlesca, again played first in the violin and followed by descoberta importante desta altura é o Jazz, cuja influência será notória e duradoura. the piano – but here in an even more perceptible form than in the Allegro – in a O retorno ao país de origem, a partir de 1923, marca uma nova fase, caracterizada continuous dialogue. The fourth movement of this sonata completes the circle: it pela descoberta e cultivo da música popular checa. Sintetiza-a com outros elementos, begins with the same theme as the first, and sounds the initial rhythmic motive, at no como o jazz ou o estilo neoclássico. As suas composições desta fase são as mais less a dynamic than fff, to close the work. interpretadas e este é o período de maior reconhecimento profissional, nomeadamente © Ana Carvalho no panorama internacional. A fase final da carreira, a partir dos anos 30, é marcada Translation: Fredrick Gifford por dificuldades cada vez maiores, resultantes da sua origem judaica e das suas opções políticas, exteriorizadas na sua música. Tendo conseguido cidadania por parte da União Soviética, não conseguiu já fugir da Checoslováquia, sendo capturado pelo A influência de Debussy é evidenciada logo desde o primeiro andamento, regime nazi e vindo a falecer num campo de concentração em 1942. precisamente na exploração de harmonias não convencionais. Este Allegro risoluto remete para a forma-sonata, alternando um motivo inicial, de ritmo pontuado e Suite para Violino e Piano WV18 bem marcante, com um outro, de carácter lírico. O segundo andamento é quase Designada pelo compositor como Op.1 – tendo assim rejeitado 20 obras anteriores - e uma ária para o violino, cantabile e expressiva, que o piano acompanha. Os dois datada de 1911, esta obra evidencia a influência oitocentista. Em termos de forma, últimos andamentos são menos arrojados harmonicamente e, de um ponto de vista é reminiscente da estrutura clássica do género, com um prelúdio seguido de três formal, reconhecíveis nos tradicionais géneros do scherzo e trio e do rondó. A secção danças e terminando com um scherzo. Do ponto de vista estilístico, o modelo tardo- intermédia do scherzo, não deixa grande espaço para tranquilidade entre as suas duas romântico é bem patente, numa obra que, enquanto tonal, explora o cromatismo. ansiosas secções externas. As harmonias do piano no Allegro molto final remetem Curiosamente, esta suite foi publicada apenas em 2004. novamente para Debussy. O tema inicial do rondó em metro ternário é dominante, O prelúdio, expressivo, explora um breve motivo rítmico, trazido pelo violino, e explorando, mais uma vez, a alternância entre passagens de carácter bem contrastante. que o piano vai a tempos ecoando. Os dois primeiros andamentos de dança - gavotte e minuete (com trio) - não poderiam fazer lembrar mais o cânone clássico, quer Sonata para Violino Solo WV83 em termos de ritmo, quer no seu carácter estilizado, remetendo-os para requinte e O retorno de Schulhoff a Praga em 1923 corresponde a uma nova fase na sua elegância tradicionalmente associados a estes géneros. O toque pessoal de Schulhoff carreira, marcada quer pelo reconhecimento profissional – sobretudo como pianista faz-se sentir essencialmente nas secções intermédias destes andamentos: o bordão virtuose e intérprete de reportório contemporâneo - quer por novas opções criativas agudo do violino na gavotte e o trio do minueto. A valsa, obedecendo ao esperado na composição. No manuscrito desta sonata encontra-se a anotação “Paris – Londres, ritmo ternário, é já muito mais livre em termos de estilo. O scherzo tem como Janeiro 1927”. Seria publicada no ano seguinte. indicação original na partitura ‘Dança dos diabinhos’, uma descrição eficaz do Sendo outras obras desta altura marcadas pela influência jazzística, aqui é carácter do tema principal. O contraste é trazido a este andamento pelo lírico trio. mais evidente a descoberta pessoal da música tradicional checa. A exploração das capacidades técnicas e expressivas do violino marca toda a sonata. As primeiras Sonata No.1 para Violino e Piano WV24 estão bem patentes no andamento inicial, virtuosístico e pleno de energia. O Andante Esta sonata, ainda do período pré Primeira Guerra Mundial (1913), revela já cantabile acrescenta, ao aspecto técnico, o lado expressivo. A apresentação de todas diferenças consideráveis com a obra anterior, sobretudo em termos harmónicos. É as doze notas da escala cromática no tema inicial traz reminiscências da Segunda notória a influência de novas linguagens musicais, nomeadamente de Debussy, com Escola de Viena, uma influência importante do compositor no período pós-Guerra. quem Schulhoff contactou, ainda que brevemente. No prefácio editorial desta sonata, No Scherzo, as repetidas passagens em quintas perfeitas vão intercalando com Vlastimil Musil descreve-a como “uma obra com a marca da busca de Schulhoff pela motivos mais curtos, contrastantes sobretudo em termos de textura, usando a melodia sua própria linguagem musical”. e – brevemente – o pizzicato. O uso reiterado da quarta aumentada no andamento final reflecte a inspiração na música tradicional do leste europeu. Janácˇek é nesta Bruno Monteiro violin altura uma influência importante, tendo-lhe Schulhoff dedicado, em 1925, o seu duo Heralded by the daily Público as “one of para violino e violoncelo. Portugal´s premier violinists” and by the weekly Expresso as “one of today’s most renowned Sonata No.2 para Violino e Piano WV91 Portuguese musicians”, Bruno Monteiro is A segunda sonata para violino e piano é composta em Novembro de 1927, vindo, internationally recognized as a distinguished no entanto, a estrear apenas em 1929. Também aqui é notória a influência da música violinist of his generation. Fanfare describes tradicional, nomeadamente no carácter de dança. him as having a “burnished golden tone” and O primeiro andamento, pleno de vigor, vive da exploração exaustiva da célula Strad states that his “generous vibrato produces rítmica inicial, um motivo que permeia toda a obra. Esta energia imparável não se radiant colors”. MusicWeb International refers limita ao violino e contagia o piano, que continua o frenesi de semicolcheias sobre to interpretations that have a “vitality and an uma melodia momentaneamente mais lírica, mas que logo retoma a ideia inicial. imagination that are looking unequivocally to the Em 2011, o violinista Daniel Hope descreve o Andante desta sonata como “o mais future” and that reach an “almost ideal balance poderoso e dramático andamento lento que se possa imaginar”. A pulsação lenta e between the expressive and the intellectual”. imutável dos acordes do piano, sobre um violino profundamente expressivo, que traz Gramophone praises his “unfailing assurance and a um contexto totalmente diverso a mesma célula rítmica do andamento anterior, eloquence” and Strings Magazine summarises conferem este carácter de dramatismo. Com a Burlesca reaparece o motivo inicial, that he is “a young chamber musician of mais uma vez trazido pelo violino e depois pelo piano – aqui de forma ainda mais extraordinary sensitivity”. perceptível do que no Allegro - num contínuo diálogo. O quarto andamento desta With a repertoire that ranges from Bach to sonata completa o círculo: abrindo com o mesmo tema do primeiro, é com o motivo Corigliano, including important Portuguese rítmico inicial, nada menos que em fff, que termina a sonata. composers, Monteiro concertizes as recitalist, © Ana Carvalho concert soloist and chamber musician in all the major musical centers of Portugal and internationally, appearing in countries such as Spain, France, Italy, the Netherlands, Germany, Denmark, the Philippines, Malaysia, South Korea and the USA (Carnegie Hall). He has been a guest soloist with orchestras such as Orquestra Filarmonia das Beiras, Orquestra do Norte, Orquestra Clássica da Madeira, Orquestra Sinfónica de Palma de Mallorca, Orquestra Sinfónica Portuguesa and the English João Paulo Santos piano Chamber Orchestra. In recital, he has performed with João Paulo Santos since 2002. Born in Lisbon in 1959, João Paulo Santos A noted recording artist, his 2014 CD of the complete works for violin and piano is a graduate of the Lisbon National and solo violin by the esteemed Portuguese composer Fernando Lopes-Graça (Naxos) Conservatory. With sponsorship from the received the highest acclaim from newspapers and musical magazines all over the Gulbenkian Foundation, he completed his world. piano studies in Paris with Aldo Ciccolini Equally praised worldwide was his debut recording for Brilliant Classics (2015) (1979/84). with the complete music for violin and piano by Karol Szymanowski. BBC Music For the past 40 years Santos has been Magazine wrote that “Portuguese virtuosos Monteiro and Santos, captured in associated with Teatro Nacional de S. Carlos, opulent sound, hurl themselves into the virtuoso fray where appropriate, steering the Lisbon Opera House, first as Chief the music’s sometimes meandering course with a firm rudder”. Examiner proclaimed Chorus Conductor and now as Director of that “Monteiro’s playing on this new recording is particularly effective in escalating Musical and Stage Studies. the mood of Opus 30 (Myths) beyond the plane of mere mortals”. Finally, Musical Artistically, he has distinguished himself Opinion declared that this recording is “one of the most significant to have been as opera conductor, concert pianist and released in recent years with regard towards a completion of this wonderful researcher of less-known and forgotten composer’s music”. works by Portuguese composers. Monteiro studied in New York with Patinka Kopec (associated teacher to Pinchas Santos has conducted operas from Menotti Zukerman), the late Isidore Cohen (former member of both the Juilliard Quartet to Sondheim; in Portugal, he has premiered and the Beaux Arts Trio) and members of the American String Quartet at the works by Stravinsky, Hosokawa, Hindemith, Manhattan School of Music with scholarships from the Gulbenkian Foundation and Martin and Henze, having received the Centro Nacional de Cultura, later completing his training in Chicago under Shmuel Acarte 2000 Prize for his musical direction of Ashkenasi (former leader of the Vermeer Quartet) as a scholar of the Ministério da Henze’s The English Cat. He has been invited Cultura and the Fundação para a Ciência e Tecnologia. to conduct world-premiere performances of works by António Chagas Rosa, António Pinho Vargas, Eurico Carrapatoso and Clotilde Rosa. He has also discovered, revised and brought Portuguese operas such as Serrana, Dona Branca, Lauriane and O Espadachim do Outeiro to the stage. As a pianist, he performs as a soloist, in chamber music groups, with major singers and in duo both with cellist Irene Lima and violinist Bruno Monteiro. His discography includes repertoire that ranges from Chat Noir Songs to classical works, including Saint-Saëns, Liszt, Satie, Martinu˙, Poulenc, Luís de Freitas Branco and Jorge Peixinho.