![]() And a factor behind Schubert’s creative crisis of the years 1818 to 1822, when one instrumental work after another was begun and then abandoned, was the daunting challenge thrown up by Beethoven’s revolutionary middle-period works. Beethoven’s mighty example remained both an inspiration and a problem for any nineteenth-century composer writing within the sonata tradition. A generation later those sentiments were to be echoed by Brahms as he grappled for more than twenty years with his first symphony. ’Who can do anything after Beethoven?’, Schubert once wrote to his friend Josef von Spaun. The Florestan Trio offer both versions on this disc, providing a rare chance to hear the original, much longer version in all its glory. The work's length proved challenging for publishers and so Schubert consented to cut 98 bars from the final movement. The Scherzo incorporates a caressing waltz and a lusty peasant dance. The tempo of this movement was determined some twenty years ago, when it occurred to Ms Tomes during a winter walk that her footsteps trudging through the snow were exactly the right tempo for the opening chords. The first movement is strongly rhythmic, the second is infused with an emotive Swedish folksong melody. ![]() Schubert dedicated the work to 'nobody save those who find pleasure in it'. The result, according to Ms Tomes, is a portrait of the Florestans painting a portrait of Schubert. In an article in The Guardian recently, pianist Susan Tomes talked of the recording sessions, during which there were many discussions about performing "the most monumental work in our repertoire". The Florestan Trio follow up their hugely successful release of Schubert's B flat trio (CDA67273) with this stunning performance of the E flat trio.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |