Like the paintings of the Flemish Baroque painters, the ‘vanities’ presented here can be approached in two ways: on the one hand, as manifestations of doubts and anxieties at the fragility of human life; on the other, as delights to be savored without moderation, celebrating earthly life through the senses and the pleasure that human beings can derive from them. After two critically acclaimed recordings each for alpha, the baritone Georg Nigl and the pianist Olga Pashchenko explore the tortuous meanders of the human soul with vocal works by Schubert (an ‘existentialist’ composer if ever there was one), Beethoven (whose torments hardly need stressing) and the contemporary composer Wolfgang Rihm, whose highly expressionistic Jakob Lenz Nigl performed on stage in 2019. His piece Vermischter Traum, here given its world premiere, is dedicated to the Austrian singer.

The Signum Quartett continues their Schubert journey for PENTATONE with Ins stille Land, a recording that explores the fascinating connections between his string quartets and songs, the latter arranged for string quartet by Xandi van Dijk, the ensemble’s violist. The concept for this recording project grew out of the salon gatherings called Schubertiaden, where chamber music and vocal works would be heard side by side in an intimate setting. The songs and quartets featured on Ins stille Land share a fascination for alienation and death, characteristic of Schubert’s troubled existence, with his world famous “Death and the Maiden” quartet as the album’s centrepiece.

The Signum Quartett is frequently hailed as one of the most adventurous and outstanding ensembles of today.

REVIEW:

This disc's program is centered on the 'Death and the Maiden' Quartet – a work that tends to overpower everything in its immediate vicinity. That it doesn’t is due in part to the Signum’s ensemble sound: passionate, often brilliant, but also clear and lean, with vibrato thoughtfully used. But it’s also down to the selection of songs (superbly transcribed, once again, by the group’s viola player Xandi van Dijk). How many ensembles would have pre-empted the D minor Quartet with the whole of ‘Der Tod und das Mädchen’? The Signum Quartet give us a single brief extract as a sort of recitative introducing a reflective sequence of transcriptions. Following the opening pair of songs, the early D major Quartet, D74, emerges from silence as if already under way; and after a D810 finale so swift that it feels genuinely dangerous, the closing ‘Schwanengesang’ seems more like a question mark than a peaceful resolution. Anyway, hear for yourself. Enjoyable purely as a recital on its own terms, it’s an album that repays careful and repeated listening.

-- Gramophone

In May 2019, pianist Mathieu Gaudet completed his ambitious series of twelve recitals presenting Franz Schubert’s complete piano sonatas. This important project now sees the light of day on album and the first chapter is the album Schubert: The First Romantic - The Complete Sonatas and Major Piano Works, Volume 1. Recorded in June 2019, this album proves beyond any doubt that Mathieu Gaudet one of the great interpreters of Schubert's repertoire. A versatile, passionate musician, Mathieu Gaudet has pursued a remarkable career as a soloist, chamber musician, and conductor for the past 20 years. He commands a vast repertoire of works and has performed across Canada, the United States, Europe, and Asia. His concerts and recordings are regularly broadcast on the French and English services of the CBC.

Franz Schubert’s Symphony in C major very much deserves its popular designation: it is indeed “The Great.” After all, its playing length of an hour means that it transcends the dimensions of everything that came before it. Moreover, with this mighty feat Schubert was very much inviting direct comparison with the works of a certain composer who was almost thirty years his senior: Beethoven. Peter Gülke and his Brandenburg Symphony discover hidden and more obvious allusions while situating this gigantic work, complete and unabridged, in a previously hardly noticed, surprising comparative context and present the results in vibrant SACD sound. On this recording Peter Gulke once again shows why he has been showered with the highest honors in the field of music and the study of literature. Just in time for the two hundredth anniversary of the Brandenburg Theatre, he and his orchestra are in top form. In keeping with the festive occasion- and the outstanding importance of the work- Schubert’s symphony is heard in luxurious three-dimensional sound. Genuinely great music conveyed in magnificent audio form!

The 2019/20 Season marks the start of Maxim Emelyanychev's role as Principal Conductor of the Scottish Chamber Orchestra and the release of his Linn recording debut. Emelyanychev, an outstanding representative of the younger generation of Russian conductors, discovered an instant rapport with the SCO when he substituted for Robin Ticciati in 2018. It was this performance of Schubert's 'Great' C major Symphony that secured Emelyanychev's appointment and created a fervent anticipation for this recording. The concert prompted The Scotsman to comment: 'Emelyanychev [was] constantly balancing surface charm and vigor with a far darker, more manic undertow -not least in the towering cumulative energy of his propulsive finale.' Schubert's Ninth Symphony was the composer's final major contribution to the genre and his maturity is reflected in it's intensely lyrical melodies and monumental scale. Emelyanychev procures a very precise blend and balance by applying a historical aesthetic similar to the one that has previously seen accolades heaped upon this award-winning orchestra

SCHUBERT Piano Sonatas: No. 1 in E, D 157 ; No. 8 in f?, D 571/D 570/D 604 ; No. 15 in C, D 840 “Reliquie.” Fragments: in c?, D 655; in e, D 769a • Gottlieb Wallisch (pn) • NAXOS 8.570118 (72:23)


The young Viennese pianist Gottlieb Wallisch confirms the favorable impression he made on an earlier set of Schubert’s fragments and unfinished piano sonatas, reviewed in Fanfare 30:1 last year. The works on the present CD include sketches, fragments, and unfinished works from 1815–25, and once again, Wallisch enhances his performances with insightful and illuminating notes. He does not offer any “completions” of these fragments, as many pianists have attempted, but simply stops playing when the music breaks off. There is no completely satisfying explanation of why Schubert left so many of the piano sonatas unfinished, but Wallisch’s concluding words offer some consolation: “These fragmentary works very often breathe a special mysterious poetry. They provide a fuller view of Schubert’s creative process and musical thinking and at the same time bring to life for us his journey and quest.” Nowhere are these words better exemplified than in Wallisch’s haunting performance of the fragmentary first movement of the F? Minor Sonata, D 571.


The so-called “Reliquie” (all the unfinished works are “relics,” after all) is the most complete, as well as the most important of this group of works. Schubert finished the first two movements and the Trio section of the Menuetto and Trio, but left the Menuetto and the final Rondo incomplete. The loss is even more significant because, as Wallisch notes, this sonata inaugurated a new creative stage with a return to sonata-writing after a two-year pause. Schubert was, according to one of his letters, preparing through his instrumental compositions to pave the way for “great symphonies,” and the “Reliquie” exemplifies this ambition to a great extent. Quoting Wallisch’s notes again, “the piano-writing is laid out very orchestrally, and the individual sections and formal structures take on . . . symphonic dimensions.” Wallisch’s interpretation does full justice to the grandeur of Schubert’s vision; it is as eloquent as the performance by the fine Finnish pianist Ralf Gothoni, who made a magnificent recording of the “Reliquie” many years ago on the Ondine label (now unfortunately out of print).


Wallisch, who was a finalist in both the Queen Elisabeth and Clara Haskil competitions, is an accomplished and sensitive Schubert-player. The warmth in his playing complements Schubert’s poignant and expressive writing, while his sparkling touch brings lightness and gracefulness to livelier movements. Recorded in England in 2005, the piano sound is rich and real.


There is no mention of a continuation of the sonata cycle, but I urge Schubert-lovers to keep an eye out for future recordings as Wallisch approaches the great sonatas of Schubert’s maturity.


FANFARE: Susan Kagan

Classical Music

Franz Schubert was described by his contemporaries as a thoughtful, sensitive and highly competent pianist, if not a virtuoso, like Mozart and Beethoven. The distinguished fortepianist, Trudelies Leonhardt, presents here a miscellany of shorter piano works, both sonata and dance movements, mainly from the years 1815-1818, along with the mysterious and beautiful Hungarian Melody, from 1824. She performs on an exactly contemporaneous fortepiano by Benignus Seidner, Vienna, c. 1815. Trudelies Leonhardt is a member of one of Europe's most famous musical families, she's a leading exponent of the fortepiano and has a wide international following.

Aged only 17, Schubert conducted his first complete Mass setting, in F major, D. 105, in September 1814, gaining the approval of his former teacher Antonio Salieri.

This album features a unique recording of Die sch�ne M�llerin (The Beautiful Maid of the Mill), one that stands apart from most interpretations. It is the first performance of this song cycle in Poland-and one of the first worldwide-by a countertenor, accompanied by a historical piano. The high register of the countertenor amplifies the sense of innocence and the intensity of the protagonist's emotions-a young miller tragically in love. Written by the 26-year-old Franz Schubert, Die sch�ne M�llerin is now regarded as one of the pinnacles of the Romantic lieder tradition. The music is not merely an accompaniment to the text, but a complete entity in itself, responding to the subtlest shifts in the character's emotions while masterfully painting the backdrop for the unfolding drama. Although the love story does not have a happy ending, the overall tone of the work remains surprisingly light-hearted, perhaps reflecting the bittersweet nature of the narrative. It is in this delicate balance that the secret to the enduring popularity of Die sch�ne M�llerin lies. The cycle offers a brief escape, allowing listeners and performers alike to immerse themselves in a world that no longer exists, yet still moves the imagination with equal power.

Renowned countertenor Iestyn Davies and pianist Joseph Middleton perform Schubert's tragic song-cycle Die schöne Müllerin (The Beautiful Maid of the Mill). Adapting poetry by Wilhelm Müller, the song cycle, D. 795, marks the beginning of the end of Schubert's life.

Released under the house label of St John's College, Cambridge, this recording acts as a celebration of Iestyn Davies's formative period at the college; beginning there as a 7-year-old probationer in 1987, he progressed to become Head Chorister, ultimately returning to study as a choral scholar. Alongside full texts and translations, the booklet includes a background on the work by noted Lieder expert Susan Youens, as well as reflections on Iestyn's time at St John's from the College's past and present Directors of Music – Christopher Robinson and Andrew Nethsingha.

Franz Schubert's famous String Quintet, one of the major works of classical chamber music, in a stunning version for five Saxophones.

Schubert: Arpeggione

For baritone Alexandre Beuchat and pianist Marija Bokor, life with music is an exciting and never-ending journey; a journey through a wide variety of works and eras, a journey to faraway places and a journey to themselves. For the album "Songs of Travel", they have embarked on a journey that is as arduous as it is rewarding, with songs by Vaughan Williams, Schubert, Bloch and Mahler.

Featuring more than a hundred pieces, this album showcases the charming dances Schubert composed for the many fashionable salons in Vienna between 1815 and 1823. It joins other Naxos albums dedicated to Schubert’s piano dances and miniatures by Yang Liu (8.573941) and Daniel Lebhardt (8.574145, 8.574277). French pianist Didier Castell-Jacomin is a Steinway Artist.

Pianist Elena Margolina enjoyed an excellent musical education. She completed her studies at the Saint Petersburg State Conservatory with a concert diploma. In 1996 she completed her concert diploma at the Detmold Conservatory of Music with distinction. Elena Margolina is a laureate of several prestigious piano and chamber music competitions. These include the 1st prize at the V. International Schubert Piano Competition in Dortmund in 1995. The artist has successfully taught at the Hanover University of Music, Drama and Media, at the Stuttgart University of Music and Performing Arts, and has been active in international master classes (in Germany, Italy, South Korea, Canada, China, Albania, Russia, Ukraine, Israel, Great Britain, among others). Since 2014, Elena Margolina has been a professor of piano at the Hochschule für Musik in Detmold. Elena Margolina completes her Schubert recordings with ARS - the two sonatas D 850 and D 958 can be heard here in a very personal interpretation.

A very fine and enjoyable set...just delightful—a balm to your soul.

Julia Fischer and Martin Helmchen’s interpretation of Schubert’s music for violin and piano has been highly successful from the onset, and now returns in an affordable stereo re-issue. The release uniquely features Fischer as a pianist in the Fantasia for Piano Duet D. 940. She had previously performed as a pianist in concert, but this was her recording debut. Julia Fischer and Martin Helmchen are among the most outstanding instrumentalists of their generation, and both have a vast Pentatone discography.

-- ClassicsToday.com (David Hurwitz)

Julia Fischer and Martin Helmchen’s interpretation of Schubert’s music for violin and piano has been highly successful from the onset, and now returns in an affordable stereo re-issue. The release uniquely features Fischer as a pianist in the Fantasia for Piano Duet D. 940. She had previously performed as a pianist in concert, but this was her recording debut. Julia Fischer and Martin Helmchen are among the most outstanding instrumentalists of their generation, and both have a vast Pentatone discography.

REVIEWS:

German-Slovak Julia Fischer, who nearly opted for a career as a pianist, now shines in the constellation of top young violinists. She and her gifted pianist, Martin Helmchen, capture the sunny nature of the three youthful sonatinas, where the challenge is not primarily technical but musical: how to maintain their buoyant charm. The late Rondo Brillant D895, on the contrary, has a dark portentousness in the opening andante, while the exuberant, somewhat repetitive allegro presents a greater virtuosic challenge. These outstanding players respond with persuasive vigour and freshness.

-- The Guardian

On Vol. 1:

Helmchen is adept at pinpointing the crucial harmonies… and his touch is unusually sensitive… Fischer similarly manages to combine restraint with warm expression, and the occasional moments where she plays with more abandon - as in her dramatic first entry in D385 and the ebullient Minute of D403 - stand out the more effectively.

-- Gramophone

On Vol. 2:

☆☆☆☆☆  A magnificent account of this inspired work [the F major Fantasy]...It's a challenging piece...yet Fischer and Helmchen present as fine as any account on disc...They are a marvellous team, evidently giving each other ideas as they go along.

-- BBC Music Magazine

Characteristic Schubert, played with penetrating subtlety by the two young Germans Fischer and Helmchen...The CD ends with the D940 Fantasia for piano duet, with Fischer partnering in a powerful performance: one moment fiery, the next caressing. And all such heavenly music.

-- The Times of London

Together with Wolfgang Brunner on the fortepiano, the successful violinist Lena Neudauer now turns to Franz Schubert’s four violin sonatas on cpo. The first three works from 1816 have continued to be incorrectly labeled as sonatinas because the original publisher, Anton Diabelli, issued them under this title in 1836 in order to increase their sales potential. The Sonata in A major composed only a year after the first three more strongly develops Schubert’s characteristic lyricism, the formal structure is more varied, the piano part is of greater tonal refinement, and the work as a whole is longer than the three earlier works. Wolfgang Brunner has selected two different fortepianos: an original instrument from ca. 1810-15 from Franz Münzenberger’s workshop for the earlier sonatas and a Romantic Hammerflügel by Conrad Graf for the grand Sonata in A major. Lena Neudauer performs on a Lorenzo Guadagnini violin from 1743 with gut strings.

Ingrid Haebler (born in 1929) belongs to the same generation of Viennese pianists as Badura-Skoda, Brendel, Gulda and Demüs. In 1954 (approx. the period when the recordings on this album took place) she won the ARD competition, then as today a quality seal and a guarantee for a successful career (which she enjoyed). However, considerable disagreement has long surrounded her interpretations: for some she is a model because of her flawless technique and the absolute poise of her music-making; for others, she is virtually a symbol of academic discipline. However, her recordings were considered good enough to be used in the faked recordings of the pianist Joyce Hatto – which, when uncovered, led to one of the big and quite unique scandals in the history of music performance.

Kristjan Randalu reimagines Schubert's Winterreise with a unique blend of classical and jazz influences. Collaborating with Estonian-American bassoonist Martin Kuuskmann, the duo creates a distinct sound through the combination of piano and bassoon, offering a completely new sonic landscape for Schubert's work. This innovative reinterpretation brings a dynamic and expressive twist to the original, blending emotion and spontaneity in a fascinating way.

Marek Janowski presents his first purely-orchestral Schubert recording, together with the Dresdner Philharmonie, performing the composer’s two final, groundbreaking and most famous symphonies. While the two movements of the “Unfinished” symphony in B Minor reach a level of perfection despite the work’s apparent incompleteness, Robert Schumann praised the “Great” symphony in C Major for its “heavenly length”. Janowski’s interpretation combines a sense of tradition with vitality and intensity.

Marek Janowski is one of the most celebrated conductors of our time. After having recorded Schubert songs in orchestrations by Reger and Webern with the tenor Christian Elsner in 2015, Janowski now adds this symphonic Schubert album to his impressive Pentatone discography, following complete recordings of Bruckner, Brahms and Beethoven’s symphonies, several works by Richard Strauss, as well as Wagner’s ten mature operas. He works together with the Dresdner Philharmonie, with whom he already released complete recordings of Beethoven’s Fidelio (2021), Puccini’s Il Tabarro and Mascagni’s Cavalleria rusticana (both 2020).

These delightful dances, including Waltzes and Landler, may be small scale but they are quintessential Schubert. Containing 99 tracks, many of which are rare gems, this album presents the composer's lighter side with beautifully balanced works that are accessible to pianists.

Lebensmuth is the final episode of Signum Quartett’s acclaimed Schubert trilogy, in which early and late string quartets are combined with song arrangements created by the group’s violist Xandi van Dijk. Schubert’s First String Quartet in G Minor, written when he was 13, already reveals his inclination to bold and unexpected moves. His last String Quartet in G major, D. 887 veers between a profound examination of personal trauma and a blazing triumph over adversity, and it is this resilience of spirit which is further highlighted by songs such as ‘An die Musik’ and ‘Lebensmuth’, pieces that courageously embrace life and all the beauty it offers. The Signum Quartett is frequently hailed as one of the most adventurous and outstanding ensembles of today. The quartet’s first Pentatone recording Aus der Ferne (2018) won an Opus Klassik 2019 award, as well as a diapason d’or, and was followed by Ins stille Land (2020).

Star pianist Pierre-Laurent Aimard presents Ländler, a collection of delightful dances composed by Franz Schubert. Rustic and cheerful, these miniatures display a fascinating side of Schubert’s musical persona. Their simplicity is deceptive, as these dances are frequently shaken up by Schubert’s harmonic wandering soul, yet remaining lyrical, picturesque, and tuneful. For Aimard, there is a kinship between Schubert’s Ländler and Kurtág’s Játékok, pieces that he often performs side by side, sharing a combination of playfulness and Modernism that also calls the great twentieth-century miniaturist Anton Webern to mind. By avoiding almost any repetition, Aimard evokes a sleepwalker’s journey rather than a series of dances.

A renowned champion of twentieth-century music, Pierre-Laurent Aimard has released multiple acclaimed albums in his exclusive contract with Pentatone, including Messiaen’s Catalogue d’Oiseaux (2018) and Visions de l’Amen (2022), along with Beethoven’s Hammerklavier Sonata & Eroica Variations (2021). He also joined Tamara Stefanovich in Etudes and Frames (2023), with music by Vassos Nicolaou, and recorded Bartók's Piano Concertos with the San Francisco Symphony and Esa-Pekka Salonen (2023).

The ongoing Schubert + series, produced by pianist Can �akmur, has revealed an exceptional Schubertian. Now in it's sixth instalment, the series juxtaposes Schubert's works with those of composers he inspired. This latest program shines a spotlight on Robert Schumann. Schumann held Schubert in the highest esteem and was one of the first to recognise him as one of the most visionary composers to have ever lived, and this alone would have justified this coupling. However, �akmur delves deeper, using the program as a springboard for a philosophical discussion about naturalism within German Romanticism. The program features Schubert's brilliant Sonata in D major, D. 850, composed in 1825 in the spa town of Bad Gastein. It's composition amidst the Alpine scenery likely sparked his imagination, echoing the themes of millers, hunters, forests, and mountains prevalent in his songs. Robert Schumann's Waldszenen (Forest Scenes) continues this thread of inspiration. In these nine miniatures, Schumann returns to the happy and simple lyricism reminiscent of early works like Kinderszenen. The program concludes with Schumann's Three Phantasiest�cke, Op. 111, included, according to �akmur, for the uncanny similarity between it's second piece and the slow movement of Schubert's Sonata. This program promises a compelling journey into the heart of German Romanticism, guided by Can �akmur through the works of two of it's most pivotal figures.