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Dimitri Mattu & Angela Oliviero | Schubert, Mendelssohn, Schumann: Romantic Viola

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Schubert, Mendelssohn, Schumann: Romantic Viola

by Dimitri Mattu & Angela Oliviero

Three masterworks of romantic music for viola and piano
Genre: Classical: Romantic Era
Release Date: 

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  Song Share Time Download
1. Sonata Arpeggione, D.821: I. Allegro moderato
Dimitri Mattu & Angela Oliviero
12:02 $0.99
2. Sonata Arpeggione, D.821: II. Adagio
Dimitri Mattu & Angela Oliviero
3:45 $0.99
3. Sonata Arpeggione, D.821: III. Allegretto
Dimitri Mattu & Angela Oliviero
9:02 $0.99
4. Sonata in C Minor, MWV Q 14: I. Adagio
Dimitri Mattu & Angela Oliviero
1:05 $0.99
5. Sonata in C Minor, MWV Q 14: II. Allegro
Dimitri Mattu & Angela Oliviero
4:56 $0.99
6. Sonata in C Minor, MWV Q 14: III. Menuetto - Allegro molto
Dimitri Mattu & Angela Oliviero
7:01 $0.99
7. Sonata in C Minor, MWV Q 14: IV. Andante con variazioni
Dimitri Mattu & Angela Oliviero
10:52 $0.99
8. Marchenbilder for Viola and Piano, Op. 113: I. Nicht schnell
Dimitri Mattu & Angela Oliviero
3:20 $0.99
9. Marchenbilder for Viola and Piano, Op. 113: II. Lebhaft
Dimitri Mattu & Angela Oliviero
4:05 $0.99
10. Marchenbilder for Viola and Piano, Op. 113: III. Rasch
Dimitri Mattu & Angela Oliviero
2:50 $0.99
11. Marchenbilder for Viola and Piano, Op. 113: IV. Langsam - Mit melancholischem ausdruck
Dimitri Mattu & Angela Oliviero
5:13 $0.99
Downloads are available as MP3-320 files.


Album Notes
The Arpeggione, a string instrument, whose shape is closer to the guitar, but almost as big as a cello, tuned in E-A-D-G-B-E is the dedicatee of the Sonata in A minor by Franz Schubert (1824 ).
The violinist Staufer was the inventor of this instrument which had little popularity, in fact, only two or three were built.

At the age of 8 Schubert began to study the violin, having only sporadic episodes with the Viola during his participation in chamber groups.
Famous were the "Schubertiadi" - soirées dedicated to chamber music in the Viennese salons where Schubert could give free rein to his interpretations.

Schubert's use of the Viola in chamber music and orchestra reveals a strong Beethovenian influence and far exceeds the demand of most of his contemporary composers.

The Arpeggione becomes a piece of standard repertoire of the Viola despite the gradual appropriation of Schubert's masterpiece by the cellists.

Mendelssohn's original Sonata in C minor carries the date of February 14th 1824, but was never published while the author was alive.
In a letter of 1821, Johann Wolfgang Goethe asks Mendelssohn's father news on the progress of the young Felix's music. Felix was described as "gifted, capable and mature".

Fair Violinist and Violist, he was fully aware of the technical possibilities and timbre of the instrument. In his chamber music there are many interesting parts for the viola. For example in the Quintet in A major Op.18 and in B flat op.87, and even in orchestral works, an example is the thematic material assigned to the violas section in the second movement of the "Italian Symphony". The Sonata in C minor, that does not present formal experiments , as in the Allegro, much of the Concert for Violin and Orchestra, which lacks an orchestral exposition, but both in the bipartito initial movement (Adagio-Allegro) as in the Adagio with variations, there is a outburst of lyrical content but balanced in a symmetrical formal structure. 
Although the piano notes have a well-made accompanying role with moments devoted to only the piano, they are supposed to highlight the melodic lines of the main instrument.

The Marchenbilder were written in 1851 for Joseph Wilhelm von Wasielewski, konzert Maister of Dussenldorf Orchestra which later became the first biographer of Schumann. 
Marchenbilder belongs to the genre of Haumusik which was intended to be performed by amateurs in town houses, but both the Viola part and Piano part are technically challenging for non-professionals. 
They testify, along with other chamber music, Schumann's ability to recreate music, fantastic and visionary realities in the truest spirit of German Romanticism. 
The four movements (Faire Tales - Images from Fairyland) explore the different combinations of colors through the fine interactions between the two instruments where the apparent spontaneity, which is found in his other works dedicated to the world of childhood (Album für die Jugende, Kinderszenen, Waldszenen), transform these lovely miniatures in Marchen ohne Worte.



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