2008 Woodie Awards
Fanciful Schubert Fantasies
Tory Glerum
Issue date: 10/4/07 Section: Arts & Features
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"We have been trying to play the center of duo literature that never loses its eternal quality," Klugherz added.
This particular cycle of Schubert's began with two pieces from his early years, entitled Sonata in A Major, D.574 and Sonata (sontatina) in A minor, D.385. After a brief intermission, Heyman and Klugherz concluded with a longer, more sophisticated and much more complex piece entitled Fantasie in C Major, D. 934, which the composer wrote as a culmination of his chamber music.
In the concert program provided to audience members, Klugherz explained some of the specifics of the pieces and the movements within them.
According to Klugherz, the first sonata opened leisurely with a movement of sunny melodies, followed by a syncopated rhythm. The second movement brought in a rough and humorous Scherzo Presto and a lyrical trio. The piece continued with the simple melody of the third movement and concluded with a youthful and lighthearted fourth movement.
The second piece included four movements, opening and closing with a definite fast pace and dramatic theme. The two movements in between included a slow, classical movement recalling Mozart, and a rapid Menuetto followed by a more delicate trio.
The last piece, over 20 minutes long, was a tour de force of energy, drama, variation in sound and tone, complete with a loud, triumphant ending. According to Klugherz, four continuous movements extended into seven portions, which included intricate virtuoso displays and embodied a true Romantic spirit. The piece also included a variation on Schubert's own song Sei mir Gegruesst, or Greetings to You, in the third movement.
While all of the sonatas demanded intense concentration and focus from the musicians, Klugherz said the last piece displayed Schubert's desire to write for musical effect rather than considering the limitations of the instrument.
"He wants to express the purity of his idea no matter what it takes," Heyman added.
As sunlight streamed through the windows and reflected off the grand piano at the center of the stage, the Chapel's interior matched the grandeur of the music.
"They sparkled like sunlight on crystal," Edgar W. B. Fairchild Professor of Literature Susan Cerasano of the English Department said.
When the musicians took their final bow, much of the audience stood to applaud the truly impressive performance. A reception was held in the basement of the Chapel immediately following the concert, during which the audience enjoyed conversation and refreshments.
First-year Hip Tran said Schubert's music was a great choice for the autumn season. He was also very impressed by the performance.
"The combination of emotions and technique between the violinist and the pianist created a harmony for the audience," Tran said. "Both of them stunned."
This particular cycle of Schubert's began with two pieces from his early years, entitled Sonata in A Major, D.574 and Sonata (sontatina) in A minor, D.385. After a brief intermission, Heyman and Klugherz concluded with a longer, more sophisticated and much more complex piece entitled Fantasie in C Major, D. 934, which the composer wrote as a culmination of his chamber music.
In the concert program provided to audience members, Klugherz explained some of the specifics of the pieces and the movements within them.
According to Klugherz, the first sonata opened leisurely with a movement of sunny melodies, followed by a syncopated rhythm. The second movement brought in a rough and humorous Scherzo Presto and a lyrical trio. The piece continued with the simple melody of the third movement and concluded with a youthful and lighthearted fourth movement.
The second piece included four movements, opening and closing with a definite fast pace and dramatic theme. The two movements in between included a slow, classical movement recalling Mozart, and a rapid Menuetto followed by a more delicate trio.
The last piece, over 20 minutes long, was a tour de force of energy, drama, variation in sound and tone, complete with a loud, triumphant ending. According to Klugherz, four continuous movements extended into seven portions, which included intricate virtuoso displays and embodied a true Romantic spirit. The piece also included a variation on Schubert's own song Sei mir Gegruesst, or Greetings to You, in the third movement.
While all of the sonatas demanded intense concentration and focus from the musicians, Klugherz said the last piece displayed Schubert's desire to write for musical effect rather than considering the limitations of the instrument.
"He wants to express the purity of his idea no matter what it takes," Heyman added.
As sunlight streamed through the windows and reflected off the grand piano at the center of the stage, the Chapel's interior matched the grandeur of the music.
"They sparkled like sunlight on crystal," Edgar W. B. Fairchild Professor of Literature Susan Cerasano of the English Department said.
When the musicians took their final bow, much of the audience stood to applaud the truly impressive performance. A reception was held in the basement of the Chapel immediately following the concert, during which the audience enjoyed conversation and refreshments.
First-year Hip Tran said Schubert's music was a great choice for the autumn season. He was also very impressed by the performance.
"The combination of emotions and technique between the violinist and the pianist created a harmony for the audience," Tran said. "Both of them stunned."
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