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Fanfare

In the spring of 1816, Franz Schubert, then 19 years old, completed three sonatas for violin and piano—in D Major, D 384, A Minor, D 385 (both in March), and G Minor, D 408 (April). At the time, Schubert was employed (and none too happily) as an assistant master at his father’s Vienna school, responsible for the youngest pupils. Nevertheless, Schubert’s musical inspiration remained unimpaired. In addition to the three violin sonatas, 1816 Schubert works include the Fourth and Fifth Symphonies, the Overture in Bb, the Adagio and Rondo Concertante for piano quartet, and for violin and orchestra, the Concerto in D, and Rondo in A. Schubert always referred to D 384, 385 and 408 as “Sonatas.” The works were not published until after Schubert’s untimely death. The publisher, Diabelli, advertised them with the diminutive term “Sonatina,” perhaps as an enticement for amateur musicians. Nevertheless, the three violin sonatas are works of considerable substance, and worthy of attention from the finest artists. At the time Schubert composed these violin sonatas, he was under the spell of Mozart. And to be sure, the spirit of Mozart may be heard in much of the music. But Haydn (and his pupil Beethoven) are also influences. And, of course, Schubert’s melodic genius that served him so well in the world of Lied is a constant presence.

A new Athene recording of the sonatas pairs violinist Peter Sheppard Skaerved and pianist Julian Perkins. Both perform on instruments of the period. The violin, from 1782, is by the German instru­ment maker Martin Leopold Widhalm II, the bow by Franijois Xavier Tourte, c. 1770-1780. Julian Perkins plays a square piano manufactured by dementi and Co., London, in 1812. The sound of these instruments is lean, transparent, perhaps even brittle, a far cry from the rich, full effect that may be achieved on modem instruments. If period instruments are not your cup of tea, you are forewarned. I think it would be a shame, however, for such an aversion to dissuade you from this marvelous disc.

In his extensive, informative, and beautifully written liner notes, Skaerved refers to Schubert’s relationship with his older brother Ferdinand, a violinist. In these performances of the violin sonatas, Skaerved and Perkins assume the roles of the brothers Schubert, performing the works in some inti­mate venue. In the renditions, Skaerved and Perkins allow their imaginations to roam free, resulting in an improvisational approach to the printed scores. The frequent use of ornamentation in repeated sections is not unexpected. But the artists go much further, incorporating such devices as transposing the music up or down an octave, repeating episodes even when the score does not so indicate, and ex­changing the written musical lines between the instruments. The artists also employ numerous coloristic effects to vary the music’s texture and impact. If you follow along with the scores, or are just familiar with the works, I think you will be struck by the boldness of the artists’ approach, and its ef­fectiveness. None of the modifications and interpolations sounds contrived. Quite the contrary, each enhances the sense of discovery and joy that abounds throughout this disc.

The playing by both mu­sicians is exemplary. Had the artists “merely” rendered the music as printed, I think this disc would merit attention. But the adventurous path they actually traveled makes this a very special recording. The recorded sound is excellent, suggesting a room of modest size appropriate for a Schubertiade. I’ve mentioned Skaerved’s excellent liner notes. Perkins contributes some fascinating commentary as well. There are also bios of the performers, and backgrounds on the featured instru­ments. This Schubert disc is a fine achievement, and one I am delighted to recommend.