World Premieres for the exciting TROUT PROJECT: Silke Avenhaus had
wanted to record Schubert’s Trout Quintet for a long time. Now five
European composers were additionally asked to quasi-casually prolong
Schubert’s ambivalences into the present by supplying their own
variations. The commission called for works that were to be limited in
length, and each composer was asked to focus his attention on a
particular instrument. Although all of their pieces are based on the
Trout theme, the resulting works vary utterly in terms of character and
tempo. As Avenhaus puts it, this is a “godsend”. The new compositions
can be grasped as individual movements of a contemporary Trout
quintet,but one can also combine them in several different ways.
Is this a “sunny piece”? Cheerful? Carelessly babbling like a brook? It
tends to be exclusively associated with positive images, but pianist
Silke Avenhaus, the initiator of the “Trout Project”, contrasts all of
this with the work’s fundamental ambivalence. In Schubert’s quintet she
finds a mixture of lightness and melancholy. The first movement’s
insouciance, for instance, is almost casually obliterated in the second
one. Schubert does not hold fast to any mood or attitude for long:
ambivalence continues to hold sway, and it is a trait she particularly
appreciates.
The double bass and the cello form a strong bass section in this
particular piano quintet. The line-up may have been unusual and
difficult to score in terms of timbre, but Schubert skillfully made best
of the situation by expanding the range of different sonorities to the
maximum. The low strings fathom the underground. Conversely, the piano,
often playing in octaves for long stretches in the upper range, carries
out the assigned role of shining brightly on the mountain peaks. The
middle range is tenderly filled out by the other strings. The resulting
musical texture seems to float in midair. (from the lines notes by Elgin
Heuerding)
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