Franz Schubert HYBRID MUL Complete Works for Violin and Piano Volume 2 TICHANNEL Fantasy for piano duet, D. 940 Julia Fischer - Martin Helmchen Franz Schubert (1797 – 1828) Franz Schubert (1797 – 1828) himself, and he put an end to his compo- Complete Works for Violin and Piano, Volume 2 sition lessons with Antonio Salieri. In this chubert concluded his personal violin period of time, Schubert also wrote two Sonata for Violin and Piano in A major “Duo”, D. 574 (Op. posth. 162) Ssonata ‘chapter’ early on, as his last work of his most famous songs: Der Tod und das 1 Allegro moderato 8. 52 in this genre dates from 1817: the Sonata Mädchen (= Death and the maiden) and Der 2 Scherzo (Presto) 4. 08 for Violin and Piano in A major, D. 574 (Op. Wanderer (= The wanderer). Two successes 3 Andantino 4. 28 posth. 162, Grand Duo). Perhaps he put in the Lied genre, which led to the contact 4 Allegro vivace 4. 57 aside any further plans for violin sonatas with the baritone Johann Michael Vogl, he might have had due to a number of sig- who would later become one of his most Fantasia for Violin and Piano in C major, D. 934 (Op. posth. 159) nificant experiences he underwent in 1817. important friends and patrons. On the other 5 Andante molto 3. 22 Although Schubert is often portrayed by side, the lack of funds, with which Schubert 6 Allegretto 5. 36 the lay world as never being successful had struggled since resigning from his job 7 Andantino 10. 21 with his compositions during his lifetime, as a teacher, had prevented his marriage 8 Tempo primo-Allegro-Allegretto-Presto 5. 52 this is not entirely the case. Thus his cantata to Therese Grob, who was most likely the Prometheus – penned the previous year – only woman to feature in his life. Thus, Fantasia in F minor for Piano Duet, D. 940 (Op. 103) had created quite a sensation in Vienna. these were the circumstances in which he 9 Allegro molto moderato 4. 55 Otherwise Schubert would hardly have wrote his Violin Sonata in A major – and 10 Largo 2. 48 considered giving up his recently (1816) as so often, it does not say much about 11 Allegro vivace 5. 41 acquired teaching position in favour of crea- the actual frame of mind of the composer 12 Tempo I 5. 39 tive free-lancing. However, music historians at the time of writing the work. For it is a are right about the negative representation cheerful composition that comes up only Recording venue: Concertboerderij Valthermond, of the reception given to Schubert’s works, with movements in ¾ time after the Allegro Julia Fischer, violin / piano (D. 940) The Netherlands, 3-5/1/2009 & 3-5/7/2009 as indeed, according to traditional tales, for- moderato, which appears to be almost pure Executive Producer: Job Maarse Martin Helmchen, piano Recording Producer: Sebastian Stein tune did not smile upon him: of all things, Mendelssohn, and as a result also retains an Balance Engineer: Jean-Marie Geijsen this successful work – the Prometheus irrevocably tripping, airy and rhythmically Editing: Sebastian Stein Cantata – was lost to the world and has not springy mood. Total playing time: 67. 04 Piano: Steinway & Sons D-274 Piano-tuner during recording: yet been rediscovered to this day. In 1826, Schubert had met the Michel Brandjes, Ehud Loudar At any rate, in 1817 a number of things Bohemian violinist Josef Slavik, who was occurred simultaneously: his cantata was making a stopover in Vienna at the time. A Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. a success, he resigned from his job as a year later, he wrote his Fantasia in C major, Pour les versions allemande et française des biographies, veuillez consulter notre site. www.pentatonemusic.com teacher, he left home and struck out for D. 934, a composition tailor-made for Slavik, who was known to be a true master at his As lonely as the individual clearly is for piano duet. However, what bothers Schubert in Linz on December 27, 1828, profession. at the beginning of the Fantasia, just as us somewhat about these lines is their the poet Carl Adam Kaltenbrunner provided One should not always rely on the deeply later on does he wallow in memo- complacency – at any rate, if we seriously those present with an excellent prologue, musicologists. At least, not as far as the ries of lost love. And when Schubert bases attempt to apply them to the Fantasia in of which the fourth verse in fact embraced attribution of certain musical characters the Andantino of the Fantasia on the A-flat- F minor, D. 940 (Op. 103). This seems to us everything that is conveyed emotionally in or moods of a work are concerned, or the major variation theme from his own Lied Sei nevertheless too distressing, too profound the Fantasia in F minor: “Wir hören seine appreciation of its tonal characteristics. That mir gegrüßt, D. 741, then he is nevertheless a work of Schubert’s to actually “delight” Seele sich ergießen, wie eine Nachtigall im puts paid to intuition really fast… How is it ‘saying’ something, admittedly without a an audience. Particularly since Schubert Blütenstrauch; In zärtlichen Gefühlen sanft otherwise possible that the music-historian word actually being said. For the last verse wrote this composition in 1828, the year in zerfließen, hinwehend wie ein warmer Guido Fischer described Schubert’s Fantasia of the poem by Friedrich Rückert, on which which he died. Nevertheless, the Fantasia Liebeshauch! Doch mächtig werden wir for Violin and Piano in C major, D. 934 (Op. the Lied is based, runs as follows: “Ein Hauch is certainly “Hausmusik” (= a piece of music oft hingerissen, und Schuberts Töne sind posth. 159), written one year before the der Liebe tilget Raum und Zeiten, ich bin bei written for performance within the home), ein Donner auch! So wußt’ er uns mit sich death of the composer, as “a model of dir, du bist bei mir, ich halte dich in dieses as – although it may seem somewhat old- empor zu tragen, des Herzens tiefste Saiten cheerful nonchalance and playful this- Arms Umschlusse, sei mir gegrüßt, sei mir fashioned to us nowadays – performing anzuschlagen!” (= We hear his soul pouring worldliness”? For although the Fantasia is geküsst!” (= A breath of love wipes out time music for guests in the drawing room was itself out, like a nightingale in the flowering light and easy-going, sparkling and, as far and space, I am with you, you are with me, part of normal life during the 19th century. shrubs; softly melting in tender feelings, flut- as I’m concerned, ‘this-worldly’ in its fast sec- I hold you in my arms’ embrace, my greet- In this manner, people hauled emotional tering like a lover’s warm breath! Yet often tions, at the beginning this piece is anything ings, my kisses flow to you!) The first bars experiences into their own living room. are we totally spellbound, and Schubert’s but this-worldly: rather, it is introverted in of Schubert’s Fantasia are all about distant, Experiences that nowadays – naturally tones are also like thunder! Thus he man- more radical a manner than one usually long-lost love, thoughts of the end, return- toned down in truth, somewhat impov- aged to bear us up with him, to pluck the comes across in music from Schubert’s time. ing to nature, the embracing of nature, time erished – must be replaced by certain most sensitive strings of our hearts!) For already at the solemn moment of the and eternity – and not particularly, no, defi- occurrences in the media. However, anyone beginning, when the violin raises its voice in nitely not with ‘this-worldliness’. who has truly heard this Fantasia performed Arno Lücker all simplicity above that of the piano (which The German music-historian Walther in a small room, with just a few other peo- English translation: Fiona J. Stroker-Gale represents nature, the rushing brook), like a Vetter (1891 – 1967) once wrote the follow- ple present, knows how much further the helpless individual pouring out his sorrow, ing: “Schubert himself enjoyed sitting down horizon of such an experience extends. The for whom all that remains is the experience at the piano together with a partner; for this moment alone, in which after 36 bars the of and the dialogue with nature, it becomes reason too, he generously delighted chosen F-minor theme simply appears in the major clear that this masterpiece is most definitely acquaintances and patrons with works for key, is utterly priceless, unmistakable and dealing with – and let us state this clearly – piano duet.” Now, we are well aware that irreplaceable. the hereafter. Schubert left behind a multitude of works During a funeral gathering held for Julia Fischer also plays with the leading European orches- Temirkanov, Sir Neville Marriner, David Newcomer 2006” and the Diapason d’Or tras, including the Vienna Symphonic, the St. Zinman, Jun Märkl, Ruben Gazarian, de l’Année. Meanwhile, PentaTone has ulia Fischer is ranked as one of the leading Petersburg Philharmonic, the Staatskapelle Emmanuel Krivine and Marek Janowski. released the second CD of Mozart Violin Jviolinists of the day, captivating audi- Dresden and the London Philharmonic Julia Fischer is an ardent chamber musi- Concertos featuring Julia Fischer with the ences world-wide with her music. She was Orchestra. She has an especially close rela- cian, and performs regularly with Jean-Yves Netherlands Chamber Orchestra; Piano born in Munich in 1983, of German-Slovak tionship with the Academy of St.