Hans HUBER (1852-1921) Works for Violin and Piano
Sonata no.2 in B flat minor, op.42 (1878/1898) [32:01]
Sonata Graziosa (Sonata no.7) in G, op.119 (c.1902) [25:05]
Poetic Pieces, op.99, nos. 1, 4, 6, 8, 10, 17-20 (1892-97) [11:09]
Agnieszka Marucha (violin)
Tomasz Pawlowski (piano)
rec. Fryderyk Chopin University of Music, Warsaw, February 2010 (op.119);
February 2011.
ACTE PREALABLE AP0266 [68:23]
Though not quite the "practically unknown Swiss composer" claimed
by violinist Agnieszka Marucha in her foreword, Hans Huber will be known to
a few primarily for his First Symphony, the Tellsinfonie, named after
the legendary character of Swiss folklore (review).
There is little doubt in any case that he is one of Switzerland's most
significant composers of the 19th or indeed any century.
Huber's symphonies are available in fact on the Swedish Sterling label,
where the Stuttgart Philharmonic is conducted by Jörg-Peter Weigle, re-released
in 2003 as a now difficult-to-obtain boxed set (CDS 5000-2). The components
of this set have been reviewed here (review;
review)
as has a CD of the Huber piano concertos (review).
The violin sonatas, of which New Grove lists nine, are less well covered,
Guild's pairing of the Fifth and Sixth possibly the only recording
to date (GMCD7371, review).
As such, this release by the Polish independent Acte Préalable, billed indeed
as world premiere recordings, is both welcome and significant.
Given the dates of these works, and Huber's heroes and models - Schumann
and his 'children' - it is no surprise that the three heard
here lie somewhere between Brahms and early Strauss. The Sonata Graziosa
earns it name with its A Lark Ascending-style solo violin ending
(and beginning, for that matter), although in fact this mature masterpiece
is wistfully beautiful all the way through. The more traditional-sounding
Second Sonata is no less magnificent, a non-stop feast of lilting Austrian
cadences, the harmonic drama and the ambiguous passion of Huber's German
exemplars. Neither work lacks a sense of humour or grace either, and the listener
comes away feeling a little bit better about the world.
Unfortunately only nine of Huber's lovely miniatures, the Twenty
Poetic Pieces, have been included in this programme. In all fairness,
the complete set would not have fitted onto a single disc alongside the two
sonatas. On the other hand, there are surely other works that might have been
offered in their place - even a third sonata?
Agnieszka Marucha, with three previous recordings for Acte Préalable to her
credit including, significantly, Huber's double violin sonata op.135
(AP0159), is a fine young violinist, possessing an intimate, attractive tone
and a temperament well suited to Huber's music. Though she is undoubtedly
photogenic, the four full-page colour photos of her in the booklet, plus one
on the back inlay and another on the disc itself, seem a mite excessive -
especially when she and Tomasz Pawlowski look rather dour on all of them!
Pawlowski's own expertise plays a significant role in her successful
account of Huber, whose piano music is no mere accompaniment - especially
in Sonata no.2, where there is even a solo cantilena.
Sound quality is very good. The booklet notes by Marucha are interesting and
well written, revealing a mental maturity that matches her musicianship. Besides
the Polish originals there are English and German translations. A quality
disc in every regard.
Byzantion
Collected reviews and contact at artmusicreviews.co.uk
The three sonatas heard here lie somewhere between Brahms and early Strauss.
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