and his circle

Albumbeschreibung

Toccata Classics' Schubert and his Circle attempts to provide a contextual, documentary spin on Viennese master Franz Schubert. It is a fascinating and mysterious topic well deserving of discussion; the pitiable number of letters in Schubert's own hand reveal something of his personality, but never mentions his music-making. One certain way into Schubert is to examine his relationship with brothers Anselm and Josef Hüttenbrenner, who were his closest friends, confidantes, and, like Schubert, prolific composers. Pianist Todd Crow tastefully and respectfully delivers arch-Schubert editor Brian Newbould's edition of the notoriously unfinished "Reliquie" Sonata in C major D. 840; his 13 Variations on a Theme of Anselm Hüttenbrenner, D. 576; and the tiny Schubert Deutscher in C sharp minor, D. 643. In addition to these, we are treated to Anselm Hüttenbrenner's Piano Sonata in E major, Op. 16, and Josef Hüttenbrenner's Tanz der Furies, which appears on a music leaf opposite Schubert's manuscript of D. 643. The Newbould realization of the "Reliquie" and Hüttenbrenner works are receiving their first recordings here. Newbould has edited all of Schubert's unfinished symphonies and he serves as honorary vice-president of the Schubert society in the U.K.; Newbould also provides useful notes for the disc. There is no clear solution to the problem of completing the "Reliquie," although Newbould is widely regarded as one of the most authoritative editors of Schubert, technically Ian Munro's semi-improvised completion and Christoph Delz's post-modern assemblage on the "Reliquie" are as valid realizations as any; Schubert did not leave behind enough of the unfinished movements to make clear his intentions. What Newbould has to offer in this instance is his tremendous amount of experience in restoring other Schubert works and his extensive knowledge of Schubert's general working methods of composition. The Rondo finale of Schubert's "Reliquie" opens with a rather unpromising dance figure interrupted by an abrupt gesture that breaks out of the basic rhythm. In Newbould's realization, these opening figures return to support other developmental material, and the result is convincingly Schubertian, although there is no way to know, in this case, what was on his mind. The Hüttenbrenner works, while better than the average for an era in German music dominated by Biedermeier sensibilities, are not greatly distinguished. The opening of Anselm Hüttenbrenner's Sonata in E is pure salon music with its sighing chromaticism and languorous gestures; though the finale is interesting, it is so monothematic as to be minimalistic. Josef Hüttenbrenner's little Tanz der Furien demonstrates a good grasp of the Beethoven of the Ruins of Athens and would almost be charming in the manner of one of Grieg's diabolical miniatures if it wasn't scored so heavily. Toccata Classics' Schubert and his Circle is reflective of good, solid Schubert scholarship; is well played by Crow; and will be embraced by those who are actively involved in the mystery of Schubert.
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