Duo Sessions Julia Fischer & Daniel Müller-Schott

• Zoltán Kodály (1882 - 1967): Duo for Violin & Cello, Op. 7:
• 1 Duo for Violin & Cello, Op. 7: I. Allegro serioso, non troppo 08:03
• 2 Duo for Violin & Cello, Op. 7: II. Adagio 07:32
• 3 Duo for Violin & Cello, Op. 7: III. Maestoso e largamente, ma non troppo lento 08:22
• Erwin Schulhoff (1894 - 1942): Duo for Violin & Cello:
• 4 Duo for Violin & Cello: I. Moderato 04:56
• 5 Duo for Violin & Cello: II. Zingaresca. Allegro giocoso 03:06
• 6 Duo for Violin & Cello: III. Andantino 04:07
• 7 Duo for Violin & Cello: IV. Moderato 03:08
• Maurice Ravel (1875 - 1937): Sonata for Violin & Cello, M. 73:
• 8 Sonata for Violin & Cello, M. 73: I. Allegro 05:02
• 9 Sonata for Violin & Cello, M. 73: II. Très vif 03:13
• 10 Sonata for Violin & Cello, M. 73: III. Lent 05:10
• 11 Sonata for Violin & Cello, M. 73: IV. Vif, avec entrain 05:59
• Johan Halvorsen (1864 - 1935): Passacaglia for Violin & Viola:
• 12 Passacaglia for Violin & Viola (Arr. for Violin & Cello) [After G.F. Handel's HWV 432] 05:59
• Total Runtime 01:04:37

Info for Duo Sessions

The works heard in this programme – some of the most important works written for violin and cello – were written surprisingly late, some of them a decade or more after the dawn of the Modern era: Kodály 1914; Ravel 1922; Schulhoff 1925. Although these three works can scarcely be regarded as avant-garde for their time, at least where their tonality is concerned, a new spirit is in the air: a freely ranging search on all levels for new forms and means of expression, coupled with a love of experimentation with extremely sparse scoring. It is also noteworthy that all three works succeed in their own way in reflecting a national character in their musical idiom. Ravel offers typical trompe-l’oreille subtlety while retaining immaculately groomed French elegance; Kodály writes against a background of ethnological research in folk music; Schulhoff stands out for the way he experiments with complex combinations of rhythms.

However, the pioneering work in a distinctive violin-cello repertoire was surely written a generation earlier: Brahms’s concerto for this ‘eight-stringed giant’ of 1887. It was a performance of his work that brought Julia Fischer and Daniel Müller-Schott together on the concert platform for the first time. In fact, both artists wish this CD release to represent a record of their work together as a duo over the past ten years and more, as the pair explain in an extended conversation with Meret Forster printed in the accompanying booklet. It is already the case that performances of the Brahms Double Concerto by Fischer and Müller-Schott now almost inevitably lead the audience to expect the immortal Handel-Halvorsen Passacaglia of 1894 – a demand that is gladly met. This congenial enlargement by the Norwegian violinist and composer Johan Halvorsen (1864-1935) of a passacaglia from a Handel suite for harpsichord exists in various pairings of violin, viola and cello. It accentuates the infectious vigour of the original in a remarkably clever manner by its highly challenging but idiomatic transposition to two quite differently characterized and mutually supportive instruments.

“they play [the Ravel and the Kodály] with such energy, engagement and virtuoso precision that there’s never any hint of overfamiliarity; in both works, every detail of the extremely demanding string writing is carefully etched, and captured with tingling immediacy in the recording.” (The Guardian)

“They share an easy rapport, they revel in the gypsy influences that pervade, especially, Kodaly’s work...This is gritty music played with a probing intensity and a spectrum of colour, the players equal to all the challenges the composers throw at them.” (Sunday Times)

Julia Fischer, violin
Daniel Müller-Schott, cello

No biography found.

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