Output details

"Schubert: The Complete Works for Violin and Fortepiano", recorded April 2011 (published May 2012), Naxos

The aim of the research was to chart Schubert’s musical development in his writing for violin and fortepiano as it responded to the rapidly evolving instruments of the period. These developments were, in turn, responses to the performance demands of the day both physical (intimate salon to public concert hall) and aesthetic (a growing interest in virtuosic display). The research output is two CDs that include all Schubert’s works for violin and fortepiano. The violinist is the researcher.

The research process included the study of all extant autographs of the works, some of which are normally closed to inspection. Current urtext editions are unsatisfactory, often “normalising” Schubert’s varied use of musical signs such as accents.

The performances of all works use a violin by GB Guadagnini from 1777 strung with gut. For the earlier works, a 1790’s Dodd bow was used, whilst the fortepiano is a copy of a 1795 Viennese model by Walther with knee pedal. The later works employ a later bow by Pajeot, which is longer and heavier. The later keyboard is a Graf Viennese fortepiano of 1825, which has an extended note range and foot pedals, including a moderator (or mute).

These changes in instrument allow very significant musical changes to emerge, including greater resonance in longer phrasing, and a much wider dynamic range. Schubert’s later works exploit these new possibilities, and use a dramatic musical language emphasising espressivo cantabile playing.

Parallel to the developments in instruments the researcher’s performances have benefitted from a study of evolving performance practices of violinists of the period, particularly as illustrated by the hugely influential Méthode de Violon, revised in 1830.

The research process therefore presents to the listener an informed account of Schubert’s journey from the domestic music-making of his home to the concert hall of the virtuoso.

Sources difficult to access (REF 01.2012; page 86; para. 64; bullet 3): This output was based on the location, collection and analysis of primary sources some of which have been closed to scholars.

Considerable body of material (REF 01.2012; page 86; para. 64; bullet 2): The output analysed stylistic development through Schubert’s entire corpus of music for violin and fortepiano.

Extensive period of studio practice (REF 01.2012; page 86; para. 64; bullet 5): The output comprises the researcher’s performances of Schubert’s music using a range of different instruments reflecting evolving performance practices.