SCH U L HOF FCOMPLETE MUSIC FOR VIOLIN AND PIANO

Bruno Monteiro violin · João Paulo Santos piano

Erwin Schulhoff (1894-1942)Complete Music for Violin and Piano

Suite for Violin and Piano WV18 1. Präludium: Stürmisch 4'032. Gavotte: Mäßig 4'033. Menuetto 4'154. Walzer 4'025. Scherzo 5'49

Sonata No.1 for Violin and Piano WV24

6. Wuchtig 6'367. Ruhig 4'358. Scherzo: Bewegt 2'529. Rondo: Nicht zu schnell 7'41

Sonata for Solo Violin WV8310. Allegro con fuoco 2'1711. Andante sostenuto 5'2012. Scherzo: Allegretto grazioso 2'4413. Allegro risoluto 3'05

Sonata No.2 for Violin and Piano WV91

14. Allegro impetuoso 6'4215. Andante 5'1016. Burlesca: Allegretto 2'4117. Allegro risoluto 3'53

Total time: 76'36Recording: 26-28 April 2016, Igreja da Cartuxa, Caxias, PortugalProducer: Bruno MonteiroEngineer and Editor: José FortesArtists photos: Inês Monteiro (Bruno Monteiro); Alfredo Rocha (João Paulo Santos)Cover: Garden Wall, by Antonin Slavicekp & © 2016 Brilliant Classics

Bruno Monteiro violin · João Paulo Santos piano

Erwin Schulhoff Complete Music for Violin and PianoThe Czech composer and pianist Erwin Schulhoff came from a family of German descent. From an early age, he displayed musical talent and accomplishment and was encouraged to pursue official studies in music, which he began at the Conservatory in Prague when he was 10 years old. Piano and compositional studies then followed in Vienna, Leipzig and Cologne, where his teachers included, among others, Willi Thern, Max Reger, Fritz Steinbach and (for a short time) Debussy. The culmination of these years of study came as Schulhoff received the Wüllner and Mendelssohn prizes, both awarded in 1913.

Historical events that shaped Europe in the first half of the twentieth century also exerted an important influence on Schulhoff’s professional life and creative choices. The post-Romantic influence, evident in the first phase of Schulhoff’s work, was substituted by a radically different style due to a profound alteration of the composer’s personal convictions after his experience fighting on the front lines in World War I. Political and musical options would become quite salient in this new creative phase, which lasted until the beginning of the 1920s.

Residing temporarily in Dresden, Schulhoff came into contact with a series of figures associated with the artistic trends of the avant-garde, offering him the new musical solutions he was seeking. He would work, throughout the following years, in two extreme aesthetics: atonality and the rhythmic emancipation associated with the Second Viennese School, and at the same time, the absurdity and spontaneity of the Dada movement. Jazz was another important discovery from this time and its influence would be notable and lasting for Schulhoff.

The return to his native land, in 1923, would mark a new phase, characterized by the discovery and cultivation of Czech folk music. Schulhoff synthesized this music with other elements, like jazz or the neoclassical style. The compositions written during this phase are among his most frequently performed works. It was during this time that he received the greatest professional recognition on an international stage.

The final part of his career, beginning in the 1930s, is marked by ever-increasing difficulties that resulted from his Jewish heritage and his decision to sound his political choices clearly through his music. Having obtained citizenship in the Soviet Union, he was unable to flee Czechoslovakia, where he was captured by the Nazi regime. He died in a concentration camp in 1942.

Suite for Violin and Piano WV18 After rejecting 20 previous works, this piece was designated by the composer as op. 1 and dates from 1911. This work exhibits eighteenth century influences. In terms of form, it is reminiscent of the classical structure of its genre: a prelude followed by three dances, closing with a scherzo. From a stylistic point of view, the late-Romantic model is quite evident in a work that, while tonal, explores chromaticism. Curiously, this suite was only published in 2004.

The prelude, espressivo, explores a brief rhythmic motive, played by the violin, which is, at times, echoed by the piano. The first two dance movements, gavotte and minuet (with trio), display the perfection and elegance traditionally associated with the classical canon in terms of both rhythm and stylized character, and could hardly remind one more of this genre. The personal stamp of Schulhoff is apparent primarily in the intermediate sections of these movements: the high pedal tone of the violin in the gavotte and the trio of the minuet. The waltz, obeying the expected ternary rhythm, is already freer in terms of style. In the original score, the Scherzo bears the indication, “Dance of the little devils,” an effective description of its main theme’s character. The lyrical trio brings contrast to this movement.

Sonata No.1 for Violin and Piano WV24This sonata, still from the pre-World War I period (1913), already displays considerable differences from the previous work, above all in terms of harmony. The influence of new musical languages is apparent here, especially that of Debussy,

with whom Schulhoff was in contact, even though briefly. In the editorial preface to this sonata, Vlastimil Musil describes it as “a work that bears the mark of Schulhoff searching for his own musical language.”

The influence of Debussy can be witnessed immediately in the first movement, precisely in the exploration of unconventional harmonies. The Allegro risoluto displays a sonata form, alternating the initial motive, with its dotted and marked rhythm, with another, of a lyrical character. The second moment is almost an aria for the violin, cantabile and expressive, accompanied by the piano. The final two movements are less harmonically daring, and, from a formal point of view, recognizable as belonging to the traditional genres of scherzo and trio, and rondo. The middle section of the scherzo does not leave much room for tranquility between its two anxious external sections. The piano harmonies in the final Allegro molto again recall Debussy. The compound meter of the Rondo’s first theme dominates here, exploring, once again, the alternation between passages of highly contrasting character.

Sonata for Solo Violin WV83Schulhoff’s return to Prague in 1923 corresponds to a new phase in his career, defined by both professional recognition – especially as a virtuoso pianist and performer of contemporary repertoire – as well as by the new creative options in his compositions. The manuscript of this sonata contains the annotation: “Paris – London, January 1927.” It was published the following year.

While other works from this time show a notable influence from jazz, the personal discovery of traditional Czech music is more evident here. The entire sonata is characterized by its constant exploration of the technical and expressive capacities of the violin. The first of these traits is evident in the virtuosic and energetic opening movement. The Andante cantabile adds an expressive aspect to the discourse. The presentation of all twelve tones of the chromatic scale in its initial theme recalls the Second Viennese School, an important influence on Schulhoff during the post-war

period. In the Scherzo, the repeated passages in perfect fifths are rapidly intercut with a new motive that brings contrast, especially in terms of texture, using melody and – briefly – pizzicato. The reiterated use of the augmented fourth in the final movement reflects the inspiration from traditional Eastern European music. By this time, the influence of Janácek was very important for Schulhoff, who had, in 1925, dedicated his duo for violin and cello to the older composer.

Sonata No.2 for Violin and Piano WV91The second sonata for violin and piano was composed in November of 1927, but was premiered only in 1929. The influence of folk music is clearly discernible here in the work’s dance-like character.

The first movement, full of vigor, thrives on the exhaustive exploration of its initial rhythmic cell, a motive that permeates the entire work. This implacable energy is not limited to the violin, but also infects the piano, which continues the frenzy of sixteenth notes over a melody that, for a brief instant turns more lyrical, but immediately returns to the initial idea. In 2011, the violinist Daniel Hope described the Andante of this sonata as “the most powerful and dramatic slow movement imaginable.” This dramatic character results from the slow pulsation and unchanging piano chords which sound against a deeply expressive violin, creating a completely different context for the same rhythmic cell from the previous movement. The initial motive reappears in the Burlesca, again played first in the violin and followed by the piano – but here in an even more perceptible form than in the Allegro – in a continuous dialogue. The fourth movement of this sonata completes the circle: it begins with the same theme as the first, and sounds the initial rhythmic motive, at no less a dynamic than fff, to close the work.© Ana CarvalhoTranslation: Fredrick Gifford

Erwin Schulhoff Integral da obra para Violino e PianoCompositor e pianista checo de descendência alemã. Revelando, desde cedo, particular interesse e talento musicais é encorajado a prosseguir estudos oficiais de música, que inicia no Conservatório de Praga aos 10 anos. A formação em piano e em composição prosseguem em Viena, Leipzig e Colónia tendo como mestres, entre outros, Willi Thern, Max Reger, Fritz Steinbach e (num breve período) Debussy. O culminar destes anos de estudos vem com o prémio Wüllner e o prémio Mendelssohn para piano, ambos em 1913.

A vida profissional, bem como as opções criativas de Schulhoff serão extremamente influenciadas pelos acontecimentos históricos que marcam a Europa na primeira metade do século XX. A influência pós-Romântica, evidente numa fase inicial, será substituída por um estilo radicalmente diferente, fruto de uma profunda alteração de convicções pessoais após a experiência na frente de combate durante a Primeira Guerra Mundial. As opções políticas e musicais tornar-se-ão muito claras numa nova fase criativa, que durará até ao início dos anos 20.

Temporariamente instalado em Dresden, Schulhoff toma contacto com uma série de personalidades ligadas às correntes artísticas de vanguarda, que lhe fornecem a inspiração para as novas soluções musicais que procura. Trabalhará, nos anos seguintes, em dois extremos estéticos: o atonalismo e emancipação rítmica da Segunda Escola de Viena e, em simultâneo, o ilogismo e a espontaneidade da corrente dadaísta. Uma descoberta importante desta altura é o Jazz, cuja influência será notória e duradoura.

O retorno ao país de origem, a partir de 1923, marca uma nova fase, caracterizada pela descoberta e cultivo da música popular checa. Sintetiza-a com outros elementos, como o jazz ou o estilo neoclássico. As suas composições desta fase são as mais interpretadas e este é o período de maior reconhecimento profissional, nomeadamente no panorama internacional. A fase final da carreira, a partir dos anos 30, é marcada por dificuldades cada vez maiores, resultantes da sua origem judaica e das suas opções políticas, exteriorizadas na sua música. Tendo conseguido cidadania por parte da

A influência de Debussy é evidenciada logo desde o primeiro andamento, precisamente na exploração de harmonias não convencionais. Este Allegro risoluto remete para a forma-sonata, alternando um motivo inicial, de ritmo pontuado e bem marcante, com um outro, de carácter lírico. O segundo andamento é quase uma ária para o violino, cantabile e expressiva, que o piano acompanha. Os dois últimos andamentos são menos arrojados harmonicamente e, de um ponto de vista formal, reconhecíveis nos tradicionais géneros do scherzo e trio e do rondó. A secção intermédia do scherzo, não deixa grande espaço para tranquilidade entre as suas duas ansiosas secções externas. As harmonias do piano no Allegro molto final remetem novamente para Debussy. O tema inicial do rondó em metro ternário é dominante, explorando, mais uma vez, a alternância entre passagens de carácter bem contrastante.

Sonata para Violino Solo WV83O retorno de Schulhoff a Praga em 1923 corresponde a uma nova fase na sua carreira, marcada quer pelo reconhecimento profissional – sobretudo como pianista virtuose e intérprete de reportório contemporâneo - quer por novas opções criativas na composição. No manuscrito desta sonata encontra-se a anotação “Paris – Londres, Janeiro 1927”. Seria publicada no ano seguinte.

Sendo outras obras desta altura marcadas pela influência jazzística, aqui é mais evidente a descoberta pessoal da música tradicional checa. A exploração das capacidades técnicas e expressivas do violino marca toda a sonata. As primeiras estão bem patentes no andamento inicial, virtuosístico e pleno de energia. O Andante cantabile acrescenta, ao aspecto técnico, o lado expressivo. A apresentação de todas as doze notas da escala cromática no tema inicial traz reminiscências da Segunda Escola de Viena, uma influência importante do compositor no período pós-Guerra. No Scherzo, as repetidas passagens em quintas perfeitas vão intercalando com motivos mais curtos, contrastantes sobretudo em termos de textura, usando a melodia e – brevemente – o pizzicato. O uso reiterado da quarta aumentada no andamento

União Soviética, não conseguiu já fugir da Checoslováquia, sendo capturado pelo regime nazi e vindo a falecer num campo de concentração em 1942.

Suite para Violino e Piano WV18 Designada pelo compositor como Op.1 – tendo assim rejeitado 20 obras anteriores - e datada de 1911, esta obra evidencia a influência oitocentista. Em termos de forma, é reminiscente da estrutura clássica do género, com um prelúdio seguido de três danças e terminando com um scherzo. Do ponto de vista estilístico, o modelo tardo-romântico é bem patente, numa obra que, enquanto tonal, explora o cromatismo. Curiosamente, esta suite foi publicada apenas em 2004.

O prelúdio, expressivo, explora um breve motivo rítmico, trazido pelo violino, e que o piano vai a tempos ecoando. Os dois primeiros andamentos de dança - gavotte e minuete (com trio) - não poderiam fazer lembrar mais o cânone clássico, quer em termos de ritmo, quer no seu carácter estilizado, remetendo-os para requinte e elegância tradicionalmente associados a estes géneros. O toque pessoal de Schulhoff faz-se sentir essencialmente nas secções intermédias destes andamentos: o bordão agudo do violino na gavotte e o trio do minueto. A valsa, obedecendo ao esperado ritmo ternário, é já muito mais livre em termos de estilo. O scherzo tem como indicação original na partitura ‘Dança dos diabinhos’, uma descrição eficaz do carácter do tema principal. O contraste é trazido a este andamento pelo lírico trio.

Sonata No.1 para Violino e Piano WV24Esta sonata, ainda do período pré Primeira Guerra Mundial (1913), revela já diferenças consideráveis com a obra anterior, sobretudo em termos harmónicos. É notória a influência de novas linguagens musicais, nomeadamente de Debussy, com quem Schulhoff contactou, ainda que brevemente. No prefácio editorial desta sonata, Vlastimil Musil descreve-a como “uma obra com a marca da busca de Schulhoff pela sua própria linguagem musical”.

final reflecte a inspiração na música tradicional do leste europeu. Janácek é nesta altura uma influência importante, tendo-lhe Schulhoff dedicado, em 1925, o seu duo para violino e violoncelo.

Sonata No.2 para Violino e Piano WV91A segunda sonata para violino e piano é composta em Novembro de 1927, vindo, no entanto, a estrear apenas em 1929. Também aqui é notória a influência da música tradicional, nomeadamente no carácter de dança.

O primeiro andamento, pleno de vigor, vive da exploração exaustiva da célula rítmica inicial, um motivo que permeia toda a obra. Esta energia imparável não se limita ao violino e contagia o piano, que continua o frenesi de semicolcheias sobre uma melodia momentaneamente mais lírica, mas que logo retoma a ideia inicial. Em 2011, o violinista Daniel Hope descreve o Andante desta sonata como “o mais poderoso e dramático andamento lento que se possa imaginar”. A pulsação lenta e imutável dos acordes do piano, sobre um violino profundamente expressivo, que traz a um contexto totalmente diverso a mesma célula rítmica do andamento anterior, conferem este carácter de dramatismo. Com a Burlesca reaparece o motivo inicial, mais uma vez trazido pelo violino e depois pelo piano – aqui de forma ainda mais perceptível do que no Allegro - num contínuo diálogo. O quarto andamento desta sonata completa o círculo: abrindo com o mesmo tema do primeiro, é com o motivo rítmico inicial, nada menos que em fff, que termina a sonata.© Ana Carvalho

Bruno Monteiro violinHeralded by the daily Público as “one of Portugal´s premier violinists” and by the weekly Expresso as “one of today’s most renowned Portuguese musicians”, Bruno Monteiro is internationally recognized as a distinguished violinist of his generation. Fanfare describes him as having a “burnished golden tone” and Strad states that his “generous vibrato produces radiant colors”. MusicWeb International refers to interpretations that have a “vitality and an imagination that are looking unequivocally to the future” and that reach an “almost ideal balance between the expressive and the intellectual”. Gramophone praises his “unfailing assurance and eloquence” and Strings Magazine summarises that he is “a young chamber musician of extraordinary sensitivity”.

With a repertoire that ranges from Bach to Corigliano, including important Portuguese composers, Monteiro concertizes as recitalist, concert soloist and chamber musician in all the major musical centers of Portugal and internationally, appearing in countries such as Spain, France, Italy, the Netherlands, Germany, Denmark, the Philippines, Malaysia, South Korea and the USA (Carnegie Hall). He has been a guest soloist with orchestras such as Orquestra Filarmonia das Beiras, Orquestra do Norte, Orquestra Clássica da Madeira, Orquestra

Sinfónica de Palma de Mallorca, Orquestra Sinfónica Portuguesa and the English Chamber Orchestra. In recital, he has performed with João Paulo Santos since 2002.

A noted recording artist, his 2014 CD of the complete works for violin and piano and solo violin by the esteemed Portuguese composer Fernando Lopes-Graça (Naxos) received the highest acclaim from newspapers and musical magazines all over the world.

Equally praised worldwide was his debut recording for Brilliant Classics (2015) with the complete music for violin and piano by Karol Szymanowski. BBC Music Magazine wrote that “Portuguese virtuosos Monteiro and Santos, captured in opulent sound, hurl themselves into the virtuoso fray where appropriate, steering the music’s sometimes meandering course with a firm rudder”. Examiner proclaimed that “Monteiro’s playing on this new recording is particularly effective in escalating the mood of Opus 30 (Myths) beyond the plane of mere mortals”. Finally, Musical Opinion declared that this recording is “one of the most significant to have been released in recent years with regard towards a completion of this wonderful composer’s music”.

Monteiro studied in New York with Patinka Kopec (associated teacher to Pinchas Zukerman), the late Isidore Cohen (former member of both the Juilliard Quartet and the Beaux Arts Trio) and members of the American String Quartet at the Manhattan School of Music with scholarships from the Gulbenkian Foundation and Centro Nacional de Cultura, later completing his training in Chicago under Shmuel Ashkenasi (former leader of the Vermeer Quartet) as a scholar of the Ministério da Cultura and the Fundação para a Ciência e Tecnologia.

João Paulo Santos pianoBorn in Lisbon in 1959, João Paulo Santos is a graduate of the Lisbon National Conservatory. With sponsorship from the Gulbenkian Foundation, he completed his piano studies in Paris with Aldo Ciccolini (1979/84).

For the past 40 years Santos has been associated with Teatro Nacional de S. Carlos, the Lisbon Opera House, first as Chief Chorus Conductor and now as Director of Musical and Stage Studies.

Artistically, he has distinguished himself as opera conductor, concert pianist and researcher of less-known and forgotten works by Portuguese composers.

Santos has conducted operas from Menotti to Sondheim; in Portugal, he has premiered works by Stravinsky, Hosokawa, Hindemith, Martin and Henze, having received the Acarte 2000 Prize for his musical direction of Henze’s The English Cat. He has been invited to conduct world-premiere performances of works by António Chagas Rosa, António Pinho Vargas, Eurico Carrapatoso and Clotilde Rosa. He has also discovered, revised and brought Portuguese operas such as Serrana, Dona Branca, Lauriane and O Espadachim do Outeiro to the stage.

As a pianist, he performs as a soloist, in chamber music groups, with major singers and in duo both with cellist Irene Lima and violinist Bruno Monteiro.

His discography includes repertoire that ranges from Chat Noir Songs to classical works, including Saint-Saëns, Liszt, Satie, Martinu, Poulenc, Luís de Freitas Branco and Jorge Peixinho.