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Wydawnictwo: Avi Music
Nr katalogowy: AVI 8553408
Nośnik: 1 CD
Data wydania: listopad 2018
EAN: 4260085534081
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: romantyzm
Obszar (język): niemiecki
Instrumenty: skrzypce, fortepian
Rodzaj: kwintet

Schubert: Trouts

Avi Music - AVI 8553408
Franz Schubert (1797-1828)
Ferran Cruixent, Gerald Resch, Johannes X. Schachtner, Dejan Lazic, Osmo Tapio Raihala
Lena Neudauer, violin
Wen Xiao Zeng, viola
Janulo Ishizaka, cello
Rick Stotijn, double bass
Silke Avenhaus, piano
Nagrody i rekomendacje
Echo Klassik klassik heute 10 Pizzicato 5
Ferran Cruixent:
Cybervariation - After Schubert's 'Trout Quintet'

Franz Schubert:
Trout Quintet in A Major, Op. 114, post. D 667

Gerald Resch:
Pond and Spring

Johannes X. Schachtner:
Addendum to Schubert's 'Trout Quintet'

Dejan Lazic:
The Trout Pond, Op. 23

Osmo Tapio Raihala:
Kirkasvetinen (Brightwater)
Five contemporary Variations on Schubert’s TROUT QUINTET A singular project

Silke Avenhaus had wanted to record Schubert’s Trout Quintet for a long time. Now five European composers were additionally asked to quasi-casually prolong Schubert’s ambivalences into the present by supplying their own variations. The commission called for works that were to be limited in length, and each composer was asked to focus his attention on a particular instrument. Although all of their pieces are based on the Trout theme, the resulting works vary utterly in terms of character and tempo. As Avenhaus puts it, this is a “godsend”. The new compositions can be grasped as individual movements of a contemporary Trout quintet,but one can also combine them in several different ways.

Is this a “sunny piece”? Cheerful? Carelessly babbling like a brook? It tends to be exclusively associated with positive images, but pianist Silke Avenhaus, the initiator of the “Trout Project”, contrasts all of this with the work’s fundamental ambivalence. In Schubert’s quintet she finds a mixture of lightness and melancholy. The first movement’s insouciance, for instance, is almost casually obliterated in the second one. Schubert does not hold fast to any mood or attitude for long: ambivalence continues to hold sway, and it is a trait she particularly appreciates.

The double bass and the cello form a strong bass section in this particular piano quintet. The line-up may have been unusual and difficult to score in terms of timbre, but Schubert skillfully made best of the situation by expanding the range of different sonorities to the maximum. The low strings fathom the underground. Conversely, the piano, often playing in octaves for long stretches in the upper range, carries out the assigned role of shining brightly on the mountain peaks. The middle range is tenderly filled out by the other strings. The resulting musical texture seems to float in midair.

(from the lines notes by Elgin Heuerding)

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  • PTC 5186764
  • CDS 44611/4
  • MP 1803
  • NEOS 11928
  • DGCD 21116
  • GEN 19636
  • NIFCCD 704
  • ACD 22756