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"Nowhere will one hear Schubert better played than we heard
it at Paul Badura-Skoda's recital in the Sydney Opera House yesterday evening."
The Australian, Sydney
"An incomparable poet of the piano"
Le Dauphine, Grenoble
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| (Andantino) Notes by Paul Badura-Skoda. The variations on Schubert's song "The Trout" found in the fourth movement are by far the most famous passages. Schubert introduces the theme in a very peaceful way, solemn even, as if it were written for string quartet. Still, in the previous variations he employs another form - the choral variation - that Haydn had already experimented with in his "Emperor" Quartet (Op. 77/2). The theme is unchanged for the piano, the viola and the bass but it is somehow embellished, actually made more precious. In the fourth variation, Schubert leaves this structure, inserting what seems like a downpour - sudden D minor almost completely removed from the principal theme - and then softened in F major. In the fifth elegiac variation, the solo cello performs the Trout tune, then, following a romantic interlude, the Lied theme comes back, fresh and lively in its original form, symbolizing the sudden dart of the Trout. |
CD: Paul Badura-Skoda and Friends
Credits: D. Pergamenschikov (violin), C. Bohorquez (cello), T. Mazurenko (viola), B. Ziegler (double bass) |
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| (Allegro giusto.) Notes by Paul Badura-Skoda. This movement, like the second, is typical of Schubert's production between 1817 and 1819, while the other three movements have a more complex arrangement. A word about the dates of composition of the quintet: In the summer of 1823 and two years later, Schubert was still in Steyr, Austria. Recent studies attribute the composition of the quintet to a later date. Unfortunately, we do not know the exact date of composition. In the opinion of Max Friedländer, a Schubert scholar, the original written work was sold at the end of the nineteenth century to a Steyr's trader as waste-paper. |
CD: Paul Badura-Skoda and Friends
Credits: D. Pergamenschikov (violin), C. Bohorquez (cello), T. Mazurenko (viola), B. Ziegler (double bass) |
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| D 487. Composed in October 1816. Notes by Paul Badura-Skoda. Contrary to what takes place in the "Trout," in this brilliant work the strings have just a role of accompaniment, while the piano has a virtuoso role. In the autumn of 1813 Schubert began visiting the home of Therese Grob, the composer's first love. He was attracted by the beauty of Therese's voice and by the noteworthy talent of her brother, Heinrich, who played the cello and the piano very well. By October of 1816, Schubert had become practically a member of the Grob family. For his friend, Heinrich, Schubert composed this Adagio and Rondō for piano with violin and violoncello. The friendship with the Grob's went on until 1820 when Therese got married and Schubert began socializing in other 'salons'. |
CD: Paul Badura-Skoda and Friends
Credits: Paul Badura-Skoda (piano), D. Pergamenschikow (violin), C. Bohorquez (cello), T. Mazurenko (viola), B. Ziegler (double bass) |
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