It seems paradoxical
to say that the fantasy – phantasy,
fantasia, fancy, etc – is a musical
form; more an anti-form. And it is true
that sometimes one gets the impression
that a composer (or perhaps a publisher)
can’t bring themselves to call a work
a sonata, falling back into the catch-all
‘fantasy’. Nevertheless, the term ‘fantasy’
has described a variety of identifiable
structures in musical history, from
the variations-like improvisations on
popular tunes of the Renaissance, to
the virtuosic opera potpourris of the
nineteenth century.
On this CD, the prize-winning
young American violinist Frank Huang
plays varied examples of the genre,
and plays them all very well.
In terms of length,
the major work on the CD is the Fantasy
D.934, a substantial late work of Schubert’s,
which, had it been termed a sonata,
I have no doubt would be programmed
more often in recitals. Huang deals
with its varied demands admirably, starting
with a mysteriously veiled tone over
the piano tremolandi and establishing
a clear relationship with songs like
"Nacht und Träume". The
advantage of the instrumental form soon
becomes apparent as Schubert develops
the material through a variety of keys.
Huang plays robustly with good variation
of tone-colour.
An Allegretto section
follows, based on a jaunty theme which
perhaps Schubert recalled from his time
spent in the Austrian countryside. The
piano is at least the violin’s equal
here, counter-pointing the main tune
with some sprightly figuration, including
trills apparently left over from the
Trout Quintet. The Russian pianist Dina
Vainstein shows herself a lively and
sensitive accompanist here and throughout
the CD.
Schubert springs a
surprise at the next transition when
an expected further iteration of the
Allegretto tune switches instead to
a statement from the piano of the Lied
melody "Sei Mir Gegrüsst",
on which he then bases three variations.
This section of the Fantasy would itself
comprise a stand-alone Theme and Variations;
the violin varies with division-like
triplets and running semiquavers while
the piano has its share, contributing
lively figures and some more of Schubert’s
individualistic trills. Towards the
end of this section is an audible reference
to Mozart’s variations in his piano
sonata K.331 before a return to the
opening material with some particularly
fulsome tone from Huang. Tremolandi,
violin this time, again establish a
tranquil mood presaging the less troubled
world of Mendelssohn before a lively
Presto rounds off this fine work.
Ernst’s Fantasie on
two numbers from Rossini’s rarely heard
"Otello" is a typical nineteenth
century exercise in treatment of operatic
themes. In this case, a march and a
romance provide an opportunity for variation,
ornamentation and cadential links in
a well put together piece which is entertaining
as well as providing a vehicle for the
virtuosic soloist. The technical difficulties
are admirably negotiated.
If one listens to the
CD straight through, this piece provides
a pleasant lightweight interlude between
the Schubert and Schönberg’s Phantasy,
his final chamber work composed in 1949.
The Phantasy’s strong, dramatic gestures
quite transcend any formal concerns.
This is a work that repays repeated
listening.. Twelve note, tone rows …
forget it! As Schoenberg himself said:
"In the last few years I have been
questioned as to whether certain of
my compositions are ‘pure’ twelve-tone,
or twelve-tone at all. The fact is that
I do not know. I am still more a composer
than a theorist. When I compose, I try
to forget all theories and I continue
composing only after having freed my
mind of them. It seems to me urgent
to warn my friends against orthodoxy.
Composing with twelve tones is not nearly
as forbidding and exclusive a method
as is popularly believed. It is primarily
a method demanding logical order and
organization, of which comprehensibility
should be the main result". Huang
plays the work with a clear sympathy
for the style.
Like a number of Jewish
composers from Middle and East Europe,
Franz Waxman fled the increasing Nazi
dominance in the 1930s to New York and
points further west, eventually composing
music for over 140 films. Now a popular
concert item, his Carmen Fantasy started
life as film-music ("Humoresque",
1947). It comes up more as a vocally-based
operatic potpourri than Sarasate’s more
overtly violinistic effort in the same
genre. Huang allows the work’s geniality
to shine through to entertaining effect
and a final virtuosic flourish concludes
a CD which presents fine examples of
the multi-faceted fantasy genre, excellently
played.
Roger Blackburn
see also review
by Michael Cookson
Frank Huang (violin) 