Label: CAvi
Format: CD
Barcode: 4260085534081
Catalog number: AVI 8553408
Releasedate: 02-11-18
Format: CD
Barcode: 4260085534081
Releasedate: 02-11-18
- World Premieres for the exciting TROUT PROJECT.
- Next to Schubert’s most popular chamber music work, five young European composer’s were asked to write addendums on Schubert’s music
- Star elite on the instruments who will tour this project within the next year around Europe (Musiktage Mondsee, Mosel - Musikfestival, Musiktage Bad Urach, Beethoven123 Oslo as well as Wigmore Hall London, Sevilla, etc.)
Five contemporary Variations onSchubert’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)
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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1Cybervariation – After Schubert’s Trout Quintetfor Violin, Viola, Cello, Double Bass and Piano (2018)03:25
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2Quintet for Violin, Viola, Cello, Double Bass and Piano in A Major Trout Quintet, Op. 114 post. D 667 (1819)Allegro vivace12:26
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3Quintet for Violin, Viola, Cello, Double Bass and Piano in A Major Trout Quintet, Op. 114 post. D 667 (1819)Andante06:25
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4Quintet for Violin, Viola, Cello, Double Bass and Piano in A Major Trout Quintet, Op. 114 post. D 667 (1819)Scherzo. Presto03:57
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5Quintet for Violin, Viola, Cello, Double Bass and Piano in A Major Trout Quintet, Op. 114 post. D 667 (1819)Thema. Andantino07:07
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6Quintet for Violin, Viola, Cello, Double Bass and Piano in A Major Trout Quintet, Op. 114 post. D 667 (1819)Allegro giusto06:15
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7Teich und Quelle / Pond and Spring for Violin, Viola, Cello, Double Bass and Piano (2018)02:37
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8Addendum to Schubert’s Trout Quintet for Violin, Viola, Cello, Double Bass and Piano (2017/2018)04:26
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9The Trout Pond for Violin, Viola, Cello, Double Bass and Piano.04:26
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10Kirkasvetinen (Brightwater – Lichtwasser) for Violin, Viola, Cello, Double Bass and Piano06:20