to ring that will lead to other associations and inspire further creativity .

Or is it by chance that Robert Schumann spoke of a “frustrated” symphony with regard to the “Grand Duo” D 812, also for piano four hands? Or that Gustav Mahler made his orchestral arrangement after having heard Schubert’s string quintet “Death and the Maiden”? Luciano Berio was likewise inspired by the fragment of the symphony D 936 to compose his “Rendering” for orchestra, and Mathew Hindson was inspired by the G-major string quartet (D 887) to write “The Rave and the Nightingale” for quartet and string orchestra . New arrangements as well as new compositions have thus arisen, inspired from Schubert’s late works; they are something like attentive, reverential signs of homage to Schubert . The Swiss Octet’s first encounter with the music of the Viennese composer was with the famous Octet D 803 . Schubert, in a sense, created this ensemble form with his composition . As a result, Schubert became the main composer on many octet concert programmes; and it was because of the limitation to this single composition that the desire arose for more of his music . Florian Walser then made the arrangements for octet of the German Dances (for piano) that are on this recording, and Paul Scharf the arrangements for octet of the trio of works for piano four hands: the Fantasy in F Minor, “Lebensstürme”, and the Rondo in A Major . Whereas Alfred Brendel speaks of the piano as the vessel for all imaginable instruments, one might refer to these arrangements as a search for sonorities in the reverse direction: from the many colors of the version for piano into the individual colors of the many instruments in the version for octet . The listening experience of these wonderful works thus gives rise to new impressions; in general, the rendering of the notes of the original score has been exact, but it is now new in its forms of expression: accentuation of melodic solo voices (German Dances, Rondo, emphasis of polyphonic textures, and added prominence and bite to dissonances (“Lebensstürme”, Fantasy) . The lines of the various instruments in these arrangements have new import in their transformed contexts . That which is already contained in Schubert’s

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