WIENER SCHUBERT TRIO Claus-Christian Schuster, WIENER SCHUBERT TRIO Boris Kuschnir, Martin Hornstein
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CHAUSSON • DEBUSSY • RACHMANINOV Also available by the WIENER SCHUBERT TRIO Claus-Christian Schuster, WIENER SCHUBERT TRIO Boris Kuschnir, Martin Hornstein, (‘Nocturne’) Es-Dur op. posth. 148/D. 897 (Allegro) B-Dur D. 28 BORIS KUSCHNIR MARTIN HORNSTEIN 20 NI 6159 NI 6159 CLAUS-CHRISTIAN SCHUSTER 1 wurde 1954 in Wien geboren. Zu seinen einflussreichsten Lehrern zählten Valentin Erben an der Wiener Musikhochschule und Harvey Shapiro an der Juilliard School in New York. Dem intensiven Kontakt zum Alban Berg Quartett verdankte der Cellist frühe kammermusikalische Impulse. Er trat als Kammermusiker mit einer Vielzahl von Kollegen auf, darunter Christian Altenburger, François Benda, Alois Brandhofer, Gérard Caussé, Thomas Christian, Ferdinand Erblich, Sebastian Gürtler, Eszter Haffner, Erich Höbarth, Thomas Kakuska, Herbert Kefer, Ernst Kovacic, Michael Kugel, Thomas Larcher, Elisabeth Leonskaja, Dorothee Mields, Gerald Pachinger, Alois Posch, Elmar Schmid, Daniel Sepec, Lars Anders Tompter und Günther Voglmayr. Hornstein arbeitete auch mit Ensembles wie dem Aron Quartett, dem Artis Quartett, dem Auryn Quartett und dem Orlando Quartett zusammen. Von 1985 bis 1993 war er Cellist des Wiener Schubert Trios und von 1994 bis 2004 Mitglied des Altenberg Trios Wien. Mit diesen Ensembles gab er weit über tausend Konzerte in allen wichtigen Musikzentren der Welt. Ab 2000 konzentrierte er sich auf die musikalische Partnerschaft mit Pianistin Janna Polyzoides. Unter den zahlreichen Auftritten des Duos befand sich 2006 auch ein Sonatenabend im Brahms-Saal des Wiener Musikvereins. Ab 2004 führt die Zusammenarbeit mit dem Dichter Semier Insayif zu einer Reihe von Aufführungen von J. S. Bachs Solosuiten, kombiniert mit Gedichten und Prosatexten des Autors. Die Diskographie des Cellisten umfasst zahlreiche Aufnahmen mit den Ensembles Wiener Kammermusiker, Wiener Schubert Trio und Altenberg Trio Wien. 2007 erschien eine Aufnahme mit drei Solosuiten von J. S. Bach, kombiniert mit Gedichten von Semier Insayif („lybellen tänze“, Haymon Verlag); obwohl auch die restlichen drei Suiten Claus-Christian Schuster, aufgenommen wurden, hatte er nie die Gelegenheit dazu, diese zu editieren und zu veröffentlichen. In Zusammenarbeit mit dem Kölner Streichsextett und dem Klangforum Wien produzierte er eine Doppel-CD mit Musik des Komponisten und Freundes Klaus Johns. Neben regelmäßigen Meisterklassen unterrichtete Martin Hornstein bei den Internationalen Boris Kuschnir, Musiktagen Bad Leonfelden, der Mühldorfer Sommerakademie und war der Verantwortliche für die Kammermusik an der Konservatorium Wien Privatuniversität. Martin Hornstein starb am 27. Oktober 2009. Martin Hornstein, 2 NI 6159 NI 6159 19 was born in Vienna in 1954. His most influential teachers were Valentin Erben at the Vienna Musikhochschule and Harvey Shapiro at the Juilliard School in New (1881) York. His close contact with members of the 1 I 10.59 Alban Berg Quartet stirred his interest for 2 II 4.02 chamber music from early on and he 3 III 7.52 performed as a chamber musician with 4 IV 9.03 numerous colleges like Christian Altenburger, François Benda, Alois Brandhofer, Gérard Caussé, Thomas Christian, Ferdinand Erblich, (1880) Sebastian Gürtler, Eszter Haffner, Erich 5 I 8.33 Höbarth, Thomas Kakuska, Herbert Kefer, 6 II Scherzo. Intermezzo 3.15 Ernst Kovacic, Michael Kugel, Thomas 7 III 3.52 Larcher, Elisabeth Leonskaja, Dorothee 8 IV Finale. 5.50 Mields, Gerald Pachinger, Alois Posch, Elmar Schmid, Daniel Sepec, Lars Anders Tompter, Günther Voglmayr and collaborated with ensembles like the Aron Quartett, the Artis Quartett, the Auryn Quartett, and the Orlando Quartett. From 1985 until 1993 he was the (1893) cellist of the Vienna Schubert Trio and from 1 I 20.18 1994 until 2004 member of the Altenberg Trio Vienna. With these ensembles he gave more then 1000 performances in all the prestigious musical centres of the world. 2 II Quasi variazione 20.34 Beginning in 2000 he concentrated on his musical partnership with the pianist Janna Polyzoides. Among the numerous 3 III 7.30 appearances of the duo was a recital at the Brahms Hall of the Vienna Musikverein in 2006. Beginning in 2004 the Collaboration with the poet Semier Insayif led to many performances of J. S. Bach’s Solo-Suites in combination with poems and prose texts of the author. The discography of the cellist contains numerous recordings with the ensembles Wiener Kammermusiker, Wiener Schubert Trio and Altenberg Trio Wien. In 2007 a CD was released with three solo suites by J. S. Bach in combination with poems by Semier Insayif (“libellen tänze”, Haymon Verlag); although the remaining three Aufgenommen/Recorded Doopsgezindekerk, Haarlem, NL 1986 suites were recorded he never had the chance to edit and release them. In collaboration with members of the Kölner Produzent/Producer. Prof. Erich Urbanner Tonmeister/Balance Engineer. Michael Kornhäusl Streichsextett and the Klangforum Wien, a double CD with music of the composer and friend Klaus Johns was produced Cover Photograph by Atelier Prader, Wien. Photograph of Boris Kuschnir by Wolf-Dieter Grabner. (Extraplatte). Aside from regular master classes Martin Hornstein taught at the Internationale Musiktage Bad Leonfelden, Issued by Nimbus Records under licence from the Wiener Schubert Trio the Mühldorfer Sommerakademie, and was in charge of a chamber music class at Konservatorium Wien Privatuniversität. c Wyastone Estate Limited 2011 © 2011 Wyastone Estate Limited Martin Horenstien died on 27 October 2009. 18 NI 6159 NI 6159 3 The three piano trios in this programme are all early, and not entirely characteristic, works by three composers who came Konservatorium Wien (now Konservatorium Wien Privatuniversität), as well as the chamber music courses at the to be celebrated for their music in quite other genres. Yet they are highly enjoyable works in their own right which hardly Accademia di Pinerolo (Italy) since 1999 and master classes in Europe and the USA. Since 1980 he has on repeated deserve their comparative obscurity. occasions been a judge at international chamber music and piano competitions. In 1999 he was awarded the Austrian Cross of Honour for Science and Art for his wide-ranging artistic, journalistic and organisational work. The earliest of them is by , who wrote comparatively little chamber music until the end of his career: indeed his Piano Trio in G major, composed at the tender age of 18, is the earliest example of his chamber music that is wurde 1952 in Wien geboren. known to survive. In the summer of 1880 Debussy’s piano teacher at the Paris Conservatatoire, Antoine Marmontel, Nach anfänglichem Unterricht bei seinem Vater studierte recommended him to the wealthy Russian businesswoman and railway tycoon Nadezhda von Meck, who was travelling er an der Wiener Musikhochschule, der Indiana University in Western Europe and required a pianist to form part of her cultured household ménage. Joining her family in Interlaken School of Music (Bloomington) und am Moskauer in July, Debussy accompanied them to Arcachon, Paris, Nice, Genoa and Naples, where the party arrived in mid- Tschaikovskij-Konservatorium; seine Lehrer waren sein September was joined by the cellist Pyotr Danilchenko, who had just graduated from the Moscow Conservatory, and the Vater, Alfred Schuster, Wilhelm Hübner-Langenbruck, violinist Ladislas Pachulsky. With Debussy, they formed a trio that performed every evening at the Villa Oppenheim in the Hans Graf, Dieter Weber und Vera Gornostayeva. Von hills above Fiesole, playing for instance the Beethoven and Schubert trios – and Debussy’s own trio, newly-composed for prägender Bedeutung war für ihn die Begegnung mit the occasion. Wilhelm Kempff in Positano. Er ist Preisträger etlicher internationaler Klavier- und Kammermusikwettbewerbe We know from Nadezhda von Meck’s correspondence that Debussy had begun the work by 8th September, and had und war bis 1984 weltweit als Solist tätig. 1984 gründete finished it by the 29th, and that she found it ‘very beautiful’. But it then disappeared without trace for over a century: it er das Wiener Schubert Trio, mit dem er regelmäßiger Gast was long believed that Debussy, who then went on to accompany her into Russia, had destroyed it. Only in the mid-1980s in den wichtigsten Musikzentren und bei den did a set of manuscripts appear at auction: a score of movements I-II, a different score of movements II-IV, and a renommiertesten Kammermusikfestivals wurde. complete cello part. Some parts of the finale had to be reconstructed by the American musicologist and composer Ellwood Unmittelbar nach der 1993 erfolgten Auflösung des Derr, who also had to reconcile discrepancies between the two score of movement II, before the work was finally Wiener Schubert Trios bildete er das Altenberg Trio Wien, published in 1986, since when it has entered the repertoire without much difficulty. mit dem er seine internationale kammermusikalische Aktivität in verstärktem Maße fortsetzt. Das Ensemble ist Dedicated to Debussy’s harmony teacher at the Conservatoire, Emile Durand, it is hardly a masterpiece, but it shows des Wiener Musikvereins und der great skill and charm. Madame von Meck mentions in her correspondence that Debussy habitually disparaged German Konservatorium Wien Privatuniversität. 1999 wurde es für music as ‘too heavy and unclear’; his Trio seems determined to display lightness and clarity instead, and he gave himself seine Gesamteinspielung der Schumannschen Klaviertrios and his colleagues opportunities to take the limelight in turn