Last night's chamber music recital at Davies Hall was not explicitly part of the Dawn to Twilight
festival of the music of Franz Schubert and Alban Berg. However,
Schubert figured heavily on the program; and the featured soloists,
pianist Yefim Bronfman and violinist Julia Fischer, played significant
roles in both the first and second
programs for this past week of festival offerings. For the final event
in this season's Great Performers Series, Schubert was joined by Robert
Schumann, represented at the beginning of the program by his1849 Opus
73 set of three Fantasiestücke for clarinet (Luis Baez) and piano
(Bronfman). Schumann had already applied this title to his Opus 12
piano composition of 1837; but, while the eight pieces in that set were
given programmatic titles, the pieces in Opus 73 are identified only by
tempo markings. Whether or not the later pieces have any "dramatic" or
"fantastic" qualities is debatable. More interesting, particularly in
the Dawn to Twilight context, is the extent to which these pieces
can be heard as an advance beyond the approach Schubert had taken to
the clarinet in "Der Hirt auf dem Felsen" (D. 965).
Like Schubert, Schumann explores a broad spectrum of moods in these
three pieces; but his edges are sharper than those Schubert had honed.
Both Baez and Bronfman caught that edge, providing a compelling reading
of one of the more intriguing elements of the clarinet repertoire.
The
rest of the evening was Schubert's. Before the intermission Fischer
and Bronfman performed the 1816 D. 385 violin sonata in A minor. After
the intermission they were joined by violist Yun Jie Liu, cellist Peter
Wyrick, and bassist Scott Pingel for the 1819 D. 667 quintet in A major
("Trout"). The sonata came from the same year in which Schubert
composed his D. 438 A major rondo for violin and strings; and, in spite
of its minor key, the sonata shares many of those graceful elements
that Fischer had brought out in the rondo earlier in the week. Having
heard Bronfman take on both Schumann's erratic nature and the extreme virtuosity demanded by Alban Berg, this graceful interlude for what I have called "The Spirit of the Schubertiad"
was most welcome. That Schubertiad ambiance was also very much present
in the "Trout" quintet, not only in the high spirits of the music
itself but also in the apparent delight of the performers in rendering
those spirits. As I have previously observed,
the bass gives this work a decidedly characteristic sound, which tends
to elude most recording technology; so the music is always best
appreciated when heard "live." This time I was particularly struck by
the way in which the cello alternates between serving as a melody
instrument and supporting the bass line (making for a "two bass hit," if
I may shameless appropriate that phrase from Dizzy Gillespie). As I previously remarked
about a performance of Beethoven earlier in the afternoon, this was an
approach to Schubert through which one could discover new ways of
hearing what one thought was familiar.
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