which makes me realise by how far this composer was ahead of his time, and reminds me yet again how much I love this tune! Schubert himself must have loved it. It was among the last of his own compositions that he heard performed before his death, by the way.
The performers in the video clip above ARE the Vienna Piano Trio! I was thrilled to find this online, as a momento of our experience.
The following day, they performed in another afternoon concert at Dominion Chalmers, and once again it was An Afternoon of Schubert. Chris was stuck at work this time, so I went alone, making sure I had a seat where I could watch the facial expressions of Stefan Mendl, the ultra-musical pianist and leader / founder of the group, who feels every note intensely. I wonder if one of his ancestors centuries ago was also an ancestor of Mendelssohn, but maybe that's too far-fetched a thought. I noticed that he hardly ever looks up at his sheet music, only having it there for occasional reference, although he always employs a page turner.
There were three items on the programme this time, the first two being sonatas rather than trios, the first being the Arpeggione for cello and piano (D.821) followed by the Fantasy in C for violin and piano (D.934). Matthias Gredler is also worth watching in action, and as for the music, Schubert never ceases to awe me. "Genius = surprises and caprice," I noted in the margin, remembering how my music teacher at school (i.e. my dad) had once got me to write an essay on Humour in Music, and thinking how I could perhaps have used the Arpeggione as an example in it. There were Mozartian touches in the Adagio movement. The Fantasy, seven sections long, appealed to me too with its third section quoting one of Schubert's Lieder, Sei mir gegrüßt, developing it into exciting variations. David McCarroll from California, seems to have become thoroughly Viennese since he became the indispensible third member of the Vienna Piano Trio, replacing their former violinist.
After the intermission the whole trio returned to play Schubert's Piano Trio No. 1 in B-flat, op. 99. Here, Schubert composed yet another unforgettable second movement derived from a melody on the cello: 10 minutes of bliss, once more.
Such concerts have a physical effect on me, propelling me so easily along on my walk home afterwards that I feel as if I'm floating.