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Download Booklet Continuing their acclaimed series of recordings of the music of Hans Gál, this latest Avie release brings together two of today's most eminent Gál interpreters, Sarah Beth Briggs and Kenneth Woods, with violinist David Juritz for a recording of Gál's lyrical Piano Trio in E major and his witty Variations on a Popular Viennese Tune. Gál's music and destiny was shaped by war and political upheaval, as was that of Dmitri Shostakovich whose Piano Trio in E minor, one of the monuments of 20th century chamber music, is a harrowing souvenir of the times in which it was written. Hans Gál 1890–1987 Piano Trio in E, Op.18 28.41 1ITranquillo ma con moto 11.58 2 II Allegro violento 5.42 3IIIAdagio mesto 11.01 4 Variationen über eine Wiener Heurigenmelodie, Op.9 7.10 Variations on a Viennese ‘Heurigen’ Melody [Variations on a folk song overheard in a Viennese wine bar] Dmitri Shostakovich 1906–1975 Piano Trio No. 2 in E minor, Op.67 27.08 5IAndante 7.36 6 II Allegro con brio 3.05 7 III Largo 5.15 8 IV Allegretto 11.12 Total Timing: 63:05 Briggs Piano Trio Sarah Beth Briggs piano David Juritz violin Kenneth Woods cello Hans Gál Recording: 11–13 March 2018, Wyastone Leys, Monmouth, UK Recording produced, engineered and edited by Simon Fox-Gál Publishers: N. Simrock (1 – 3); Lengnick (4); Sikorski (5 – 8) Photos pages 5, 8 by Simon Fox-Gál Cover painting by Paul Martinez-Frias Cover design by Paul Marc Mitchell for WLP Ltd. Design and layout by Hugh O’Donnell P 2018 The copyright in this sound recording is owned by Sarah Beth Briggs g 2018 Sarah Beth Briggs www.sarahbethbriggs.com Sarah Beth Briggs is a Steinway Artist www.davidjuritz.com www.kennethwoods.net Marketed by AVIE Records www.avie-records.com Dmitri Shostakovich John Wetton, The Casino, Asbury Park, New Jersey June 28, 1974 (photo: Mike Dowd) he wanted to, while the sweetly sung trio is among the most dent, Mieczysław Weinberg, a Jewish composer who had fled Gál and Shostakovich: Piano Trios typical Gál in this remarkable work, one which deserves a much Poland at the outbreak of the Second World War and arrived in more prominent place in the repertoire. Moscow in 1943 at Shostakovich’s invitation. Hans Gál was born in the small village of Brunn am Gebirge, just outside Vienna. He studied with some of the foremost Gál’s Variationen über eine Wiener Heurigenmelodie (Variations In the years during and after the war, Shostakovich watched teachers in Vienna, including Richard Robert for piano (teacher on a Viennese ‘Heurigen’ Melody), Op.9 was composed in with deepening revulsion as Russian society rapidly forgot or of Rudolf Serkin, Clara Haskil and George Szell) and Eusebius 1914, but not published until after the First World War, when it chose to ignore the horrors and lessons of the Holocaust, and Mandyczewski, who had been a close friend of Brahms, for became extremely popular. Gál’s own whimsical description of as the cancer of anti-Semitism returned in its most vile and vir- composition. In 1915 he won the K. und K. (Royal and Imperial) the piece says everything that needs to be said about this mas- ulent form. Shostakovich is quoted in Testimony, his memoirs State Prize for composition for a symphony, which he subse- terful and witty work. ‘as dictated to Solomon Volkov’: quently discarded. In 1928, his Sinfonietta (which was to become his First Symphony) won the Columbia Schubert Over half a century ago, a hunchbacked extemporising This quality of Jewish folk music is close to my idea of Centenary Prize. The next year, with the support of such impor- singer by the name of Ungrad haunted the popular what music should be. There should always be two lay- tant musicians as Wilhelm Furtwängler, Richard Strauss and wine-houses (‘Heurigen’) of the Viennese suburbs. If ers in music. Jews were tormented for so long that they others, he obtained the directorship of the Mainz Conservatory. you secretly slipped him a consideration with the nec- learned to hide their despair. They express their despair Gál composed in nearly every genre and his operas, which essary information he would improvise humorous and in dance music… Many of my works reflect my impres- include Der Arzt der Sobeide, Die heilige Ente and Das Lied der not necessarily polite verses to the melody of these sions of Jewish music. Nacht, were particularly popular during the 1920s. When Hitler variations, whose object was some lady or other who rose to power, Gál was forced to leave Germany and eventual- was there, and such fun-poking attentions were gener- This dramatic and often anguished work ends with a series of E ly emigrated to Britain, teaching at Edinburgh University for ally not resented. The present piece was written on the major chords, finishing in the same key as Gál’s earlier work, many years. day after such an occasion, as a penitential tribute to but in a different state of being. the victim. This was in 1914, between the Austrian ulti- Gál’s Piano Trio in E major dates from 1923. Gál’s career was in matum to Serbia and the outbreak of the First World © Kenneth Woods, 2018 its ascendance at this time. In 1919 he was awarded the War, and it is documentary evidence that the young Rothschild Prize, and was appointed ‘Lektor’ for music theory people of the time greatly underestimated the serious- at the University of Vienna. This was an unpaid appointment, ness of the situation. I have unfortunately forgotten the but in 1920 he was appointed as lecturer for harmony, counter- poems of the extemporising poet; but in any case they Briggs Piano Trio point, form and instrumentation at the University, the same would probably have been unprintable. position that had once been held by Bruckner, and finally Sarah Beth Briggs, piano received a modest salary. The currency collapse of the early Dmitri Shostakovich and Hans Gál were very different charac- David Juritz, violin 1920s meant that Gál’s financial outlook at the time was pre- ters, both musically and personally, yet both lived and worked Kenneth Woods, cello carious. However, there is no manifestation of any of this uncer- in an era of great historic upheaval, their creative lives shaped tainty in the music of Gál’s E major Piano Trio, a work of warm- by war and tragedy. For Gál, music was a refuge from the hor- hearted lyricism. While Gál’s melodic language remained rors of the world. When the Second World War brought exile, United by a commitment to continuing to raise the profile of the exceptionally consistent throughout his long career, the har- loss, internment and tragedy, Gál responded by writing music Austrian-British composer Hans Gál, the members of the monic language of the music of his early maturity is generally of ever-greater poignancy and lyricism. Shostakovich, on the Briggs Piano Trio were brought together by AVIE Records to lusher and more complex than in his later works. Thus we have other hand, seemed compelled to chronicle the tragedies of his make this recording which contrasts Gál’s poetic E major Trio in this Trio a work of genuine opulence, with long-breathed time, to bear witness. ‘All of my symphonies are tombstones,’ with Shostakovich’s dark E minor Trio. melodies soaring over sumptuous post-Romantic harmonies. he is reported to have said. The outer movements of this three-movement work are partic- Sarah, David and Kenneth have previously collaborated in var- ularly structurally interesting. The first movement is a Sonata- His Piano Trio in E minor has always been one of his most ious contexts since the 1990s. While Sarah and David were Allegro movement built around three thematic groups, each in revered chamber works. It was written in 1944, partly in originally brought together through Mozart, in recent years, the its own tempo. Gál’s treatment of the form is unusual in that he response to the death of Ivan Ivanovich Sollertinsky, a polymath Hans Gál connection was what partnered Sarah with Kenneth, re-orders the appearances of the themes when they return in and avid musician and one of Shostakovich’s closest friends. ‘I when he conducted the world premiere of Hans Gál’s Piano the recapitulation, allowing the movement to conclude with a cannot express in words all of the grief I felt when I received the Concerto with Sarah as soloist for an AVIE recording which was poignant return of the striking opening theme. The Finale opens news of the death of Ivan Ivanovich … who was my closest awarded a Gramophone Critic’s Choice. with a long and complex slow introduction, itself in two tempi, friend,’ Shostakovich wrote to Sollertinsky’s widow. ‘I owe all followed by a cheeky Allegro. Each re-appearance of the my education to him.’ The three musicians enjoy exploring hidden gems as well as Allegro is marked faster, leading to a virtuosic final coda. The returning to great chamber works for the piano trio of the past. central movement, however, is an absolutely by-the-books The Trio is one of a number of works from a period in The Briggs Piano Trio share a special affinity for the piano trios Scherzo and Trio. The character indication of ‘Violente’ is not Shostakovich’s career in which there is a conspicuous influence of the leading composers of the great Austro-German tradition one that seems typical of Gál’s mostly lyrical language, but it of Jewish folk music.
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