Schneiderhan/Klien: Schubert Violin Sonatinas Nos. 1-3: DG SLPM 139 101

$

36

redgarnett Store ITEM DESCRIPTION:

This beautiful and rare LP – a lovely copy – from Deutsche Grammophone (SLPM 139 101, German pressing, tulip label, stereo) features Wolfgang Schneiderhan and Walter Klien’s sublime renditions of Schubert’s 3 Sonatinas for Violin and Piano, made in Vienna on 9/10 December 1965, gramophone classics that withstand the most exalted comparisons.

The exact contents are as follows:

Sonatina for Violin and Piano No. 1 in D Major D. 384 (Op. 137 No. 1)

Sonatina for Violin and Piano No. 2 in A minor D. 385 (Op. 137 No. 2)

Sonatina for Violin and Piano No. 3 in G minor D. 408 (Op. 137 No. 3)

In reviewing this LP and its companion disc, the critic S.P. wrote for the February 1968 issue of The Gramophone:

“Between them these two discs include all the music Schubert wrote for piano and violin, and indeed all his music for piano plus one other instrument apart from the Arpeggione Sonata and the Variations for flute and piano on his song Trockene Blumen. The discs are available separately; the second of them consists of the three sonatinas alone, which is tidy from the cataloguing point of view but does not make for the most varied listening. Some of the items have been individually recorded by other artists, notably the D major Sonatina (Suk and Panenka), and the A major Sonata, which for no good reason is usually referred to as the Duo in A major (Suk and Panenka again, and of course—dating from 1928— Kreisler and Rachrnaninov). The entire corpus has also had attention from Vox, and their set with Gyorgy Pauk and Peter Frankl is one of the best of all Vox boxes; but it includes the 'cellist Paul Olefsky and Walter Hautzig in the Arpeggione Sonata, and in running to three records out-prices these new DGG LPs by four shillings or so.

“DGG has the advantage over Vox in recording quality, as one might expect, but the Vox isn't bad and DGG's balance on the other hand isn't impeccable: in music written 'for piano and violin' (like Mozart and Beethoven, Schubert considered the instruments that way round) the violin is perhaps a shade too prominent. No, better, I think one should say the piano is a little too distant, for the violin never seems too close and rather it's the pianist's left hand about which one complains : at the beginning of the A major Sonata, where the bass of the piano carries the theme, the fault is heard at its worst. But the quality on both instruments remains splendidly warm and lifelike.

“Reviewing a record of Dvorak and Strauss by Schneiderhan and Klien last month, JB described Schneiderhan's style of playing as chaste. Here I must add that it is refined and beautifully poised and modulated; and it certainly encompasses quite a wide range of expression. The limpidity and Mozartian grace of the A major Sonata and the three sonatinas are particularly well conveyed. In the virtuoso C major Fantasy, however, I am inclined to find both players a little perfunctory and lacking magic. They could have made more, surely, of the mystery of the opening andante molto, and their brisk and superbly accomplished playing of the succeeding allegretto leaves out of account the quality of controlled Hungarian wildness which I think belongs to it; a trace of roughness and abandon wouldn't have been out of place here, as Pauk and Frankl (both Hungarian artists) show. Schneiderhan and Klien are best in the central section, in the elaborately decorative variations Schubert wrote on his song Sri mir gegriisst; but after a well managed return to the restatement of that andante nzolto, they fail again to make the most of the last main section, allegro viva.ce. The main theme of this is not one of Schubert's happiest inspirations, but it has nobility when played in the grand mariner, for all it's worth, and need not remind us of a march-past of drum majorettes.

“The players are not very generous with repeats and I miss in particular the repeat of the second half of the scherzo section in the second movement of the A major Sonata (first time through, that is). But affection for the music is communicated and nowhere on the two records is there a lifeless phrase: that admirable pianist Walter Klicn would seem to be incapable of one. I have not stressed enough the excellence of his contribution. My reservations about these issues do not amount to much and really concern only the Fantasy, a work on which I have strong personal views—others may not share them. Either record would grace any Schubert collection. As I mentioned before, the first one listed has the bigger, more ambitious pieces and the more variety.”

These sessions were produced by DGG by Hans Weber; the sound engineer was Günter Hermanns.

Incidentally, the striking cover art was executed by Gerhard Noack, Hamburg. There are fine liner notes on the reverse side of the jacket – provided in German, English, and French – by Joseph Müller-Blattau.

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the jacket is EXCELLENT. Really, the only flaw to speak of concerns some minor wear at corners, mild discoloration to the rear panel, and faint shelfwear, but that is all. There are no seamsplits, bends, owners’ markings, or other defects, and the album remains solid, bright, glossy, and highly attractive – overall, an excellent collector's copy.

The condition of the LP itself is EXCELLENT. Although the surfaces are not absolutely silent, really this is a fine copy and playback is superb, close to NM. Those requiring a flawless or near-MINT copy are advised to look elsewhere. Overall, this is an excellent collector's copy.

PLEASE NOTE:
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