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    31 views25 pages

    Clar Booklet

    Uploaded by

    Håkon Hallenberg
    hnbvcxz\

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 25
    w. CLAVES «ch ww REFLECTION Thinking back on my own life as a musician, | realize that, had | been introduced by other musicians to such a radically different world as Schubert's, | should undoubtedly have shown fess interest for him. In other words, how is it that a stream can move me so deeply, “moreover a stream of tears”? (Jelinek) While | admire Schubert's simplicity, the natural flow, the endless melodies, the character both earthly and immaterial of his dances, his “poetry of timidity” (Genazino), | feel as though he is whispering all these things in my ear. | do realize that millions before me have heard and played his music, yet | still have this inexplicable feeling, concerning these “easy” sonatas now sa dear to my heart, that | am the only one beside him to have understood the smallest details, the essence of their originality, enabling me to pass them on. So | had the audacity of transcribing the smaii piano and violin sonatas (also known as sonatinas) into piano and clarinet sonatas. Affinity of mind and spirit with such a refined man and his music gave me confidence; hence a certain feeling of unpretentious self-esteem, such as is felt by happy people. RETO BIER! «UND SINGE UND SINGE...» ‘There are two aspects around which Schubert's music continually revolves: song and wayfaring. “Und singe und singe.” ~“and | sing, and | sing...”: this symbolic phrase taken from the Hirt auf dem Felsen for voice, piano and clarinet, composed the year of Schubert's death, is of testimonial value for a man who has left over 600 Lieder to posterity. How can anyone come to be singing ceaselessly? Possibly just to convince himself that he is stil! alive. To anyone acquainted with Schubert's life, his naive and innocent song is all the more moving, His music does not take flight dramatically: it follows the fragile thread of perpetual wayfaring. Without being truly autobiographical, it draws on his own wordiy experience as a man to reach a universal dimension. It is altogether melody. The three “Pianoforte Sonatas with violin accompaniment”, chosen as the back-bone of this recording, are wrongly considered minor works, True, they may lack the intensity of later compositions for these two instruments, such as the Rondeau brillant in B Minor or the Fantasia in C, yet they already show great skill in the use of a melodic line, and, as such, are in true lineage of Mozart (D 384 and 385) and Beethoven (G Minor Sonata D 408). The context in which they were composed is unknown. We do know, however, that they were written in ‘March ard April 1816 ~ Schubert was not yet 20 -and that they were most probably intended for a collective publication (published in 1836 by Diabelli, posthumous opus number 137). Despite being a violin and viola player himself from childhood, Schubert, for some unknown reason, did not give as much importance to these instruments as might have been expected, On the other hand, he glorified the “most beautiful instrument”, the human voice. You find everything in his Lieder. Life, every aspect of it. “Stiindchen’ (Serenade), arranged here by the interpreter, belongs to the final cycle composed by the Viennese genius, the well named (though apocryphal} Schwanengesang (swan song). We are now in autumn 1828: though ill, Schubert is still writing away, vibrating under the dictation of his spirit, titillated by Rellstab’s sublime poetry. Many singers, alas, have abused of the sensual grace emanating from these well-known verses. With the clarinet, on the other hand... RETO BIERI / ANTONIN SCHERRER (Translation: isabelle Watson) RETO BIERI CLARINET Born in Zug in 1975 in a family steeped in Swiss traditional music, Reto Bieri first studied at the Basel ‘Musikhochschule with Francois Benda, then at the Juilliard School in New York with Charles Neidich. But his most marking experience were the chamber music lessons given by composer Gydrgy Kurtag and planist Krystian Zimerman in Basel. In 2001 he won the International Rostrum for Young Performers, a contest organized by the European broadcasting corporations together with the UNESCO. Since then he has been invited to play all over the world, as soloist and chamber musician. He plays with various orchestras, such as the Tchaikovsky Symphony Orchestra (Moscow Radio), the Prague Chamber Orchestra, Hungarian Philharmonic, Zurich Chamber Orchestra, Basel Chamber Orchestra, Camerata Schweiz, Pablo Sarasate Orchestra in Pamplona, Basel Symphony Orchestra, Kremerata Baltica, with conductors such as Viadimir Fedoseyev, Roger Norrington, Reinbert de Leeuw, Kurt Masur, Tibor Varga and Howard Griffiths. Reto Bieri works closely together with violinist Patricia Kopatchiskaja, cellist Sol Gabetta, pianists ‘Mihaela Ursuleasa, Riccardo Bovino and Henrl Sigfridsson, the Quatuor Casal (Zurich) and the Fecchler Trio (Zurich). He also plays chamber music with such partners as Gidon Kremer, Heinz Holliger, Dénes Varjon, Gautier Capucon, Raphael Oleg, Carolin Widmann, Jacques Zoon, Gérard Wyss, Peter Sadlo, with the following quartets: Rosamunde (Munich), Carmina (Zurich), Casals (Barcelona), Johannes (lyon), Petersen (Berlin), as well as with the Basler Streichquartett and the Altenberg Trio (Vienna). Beside the “normal” repertoire of his instrument, Reto Bieri particularly enjoys incursions into New ‘Music, He has studied various works with such eminent composers as Gydrgy Kurtég, Toshio Hosokawa, Elliott Carter, John Corigliano, Millton Babbitt, Franco Donatoni, Jiirg Wyttenbach, Roland Moser, Thomas Larcher, Otto Zykan, HK Gruber, Pierre Boulez, Jorg Widmann or Michel Roth. He is also very keen on collaborating with young creators of his own generation Reto Bieri has been a regular guest at various festivals, such as the “Young Artists in Concert” in Davos, the Lucerne Festival, New York Focus Festival, Bratislava Festival, the Basel Festival "les muséiques", the Boswiler Sommer, Eckelshausen Musiktagen, Malaga Festival, Salzburg Aspekte Festival, Leipzig International Chamber Music Festival and, upon recommendation of conductor Herbert Blomstedt, the Zurich Orpheum Musikfesttagen. Reto Bieri has already recorded two other CDs:a “Portrait” for Pan Classics where he plays Copland, Bernstein, Carter and Goodman with the Prague Chamber Orchestra, and Mozart’s complete chamber music with the Casals Quartet for Solo Musica. www.retobieri.ch GERARD WYSS PIANO Gérard Wyss studied with Paul Baumgartner at the ‘Music Academy in Basel, where he now teaches Ueder interpretation and chamber music for graduate soloists. Gérard Wyss's preference for playing in partnership turned into a vocation, and soon he was accompanying Pierre Fournier and Arthur Grumiaux. Today he is in great demand as an accompanist and chamber musician, performing in venues all over Europe, Canada, the USA and Japan. His song partners include Edith Mathis, Cecilia Bartoli, Nicolai Gedda and Wolfgang Holzmair. Many instrumentalists appreciate his experience and sensitivity in chamber music, among them the cellists Heinrich Schiff and Antonio Meneses and the violinist Raphael Oleg. Gérard Wyss is a regular guest at the international Festivals of Salzburg, Montreux, Stresa, Lucerne, Berlin, He has also taken part in numerous recordings for radio and record companies (Tudor, Denon, Philips). Innenhof des Geburtshauses. [An der Kirche Llechtental, wo Schubert getauft und wo eine erste Messe von ihm aufgefulhrt wurde. 3 3 3 ‘vom Herbst 1801 bls zum 1808. Eltern Blick auf die Stubenbastel, wo Schubert vom Herbst 1823 bis zum Friahjah 182g in einem inzwischen abgerissenen Haus wohnte. Schubert-Denkmal im Stadtpark. Sterbehaus. Ausgang SPIEGELUNG Was mein eigenes Dasein als Musiker angeht, so muss ich feststellen: Waren andere Komponisten imstande gewesen, mir diese eine, so andere Welt einzuhauchen, dann hatte ich mich wahrscheinlich weniger mit Schubert beschaftigt. Oder anders gesagt Wie kann es sein, dass ausgerechnet ein Bachlein in mir so tief geht, ewoméglich noch eins aus Tranen»? (Jelinek) Wahrend ich an Schubert seine Einfachheit, dieses natirliche Dahinfliessen, die unendlichen Melodien, die bodenlose Bodenstandigkeit in all seinen Tanzen, seine «Poesie der Schiichternheit» (Genazino) bewundere, kommt es mir vor, als spiele er mir alle diese Dinge beim Voriibergehen persénlich 2u. Obwohl ich weiss, dass Millionen von Menschen vor mir diese Musik schon gehért, gar schon gespielt haben, gibt es aus einem mir unbegreiflichen Grund in diesen «einfachen» und mir so lieb gewordenen Sonaten gleichsam viele Ecken, kleine Details, besondere Facetten, die nur Schubert und ich verstehen, an denen nur wir beide Anteil haben. Sowagte ich denn die kleinen Sonaten fr Klavier und Violine (auch Sonatinen genannt) schlicht auf lavier und Klarinette 2u Ubertragen. Die Geistes- und Seelenverwandtschaft mit einem derart feinen Menschen und seiner Musik hat mir Selbstvertrauen gegeben; und deshalb unterhalte ich eine ausgeglichene Selbstliebe, so wie das gliickliche Menschen tun. RETO BigR) «UND SINGE UND SINGE...» &s sind zwei Aspekte, um die Schuberts Musik stiindig geist: das Singen und das Wandern. «Und singe und singe ...»: Flr einen Mann, der der Nachwelt, liber 600 Lieder hinterlassen hat, mutet dieser sinnbildliche Ausspruch aus dem Hirt auf dem ‘lsen fir Stimme, Klavier und Klarinette, in seinem Todesjahr komponiert, wie ein Vermachtnis an Warum singt jemand immerzu? Vielleicht, um sich zu vergewissern, dass er selbst noch da ist. Wenn man seine Lebensumstinde kent, rihrt einen

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