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We first met Danjulo in 2007 at the Cheltenham festival, where we played Schubert's quintet.
We actually got together by chance since both we and Danjulo were BBC New Generation Artists,...
...a project supporting young artists, ensembles and soloists, and they are put together at random.
And we really hit it off. That doesn't always happen.
Když jsme se poprvé setkali v Cheltenhamu, bylo to vlastně proto,
abychom zahráli tento nádherný Schubertův smyčcový kvintet.
Since then we have played with many other soloists, cellists, as well as violists and pianists.
We performed other quintets too.
But it's really rare to meet someone who's automatically on the same wavelength.
A lot of the time soloists master their instrument splendidly.
And there is no doubt they play amazingly, but sometimes you miss that interconnection.
But it's individual. Both parties must hit it off.
Someone would hit it off with another ensemble.
It's not that someone isn't able to play.
It's a question of taste, identical approach, that's what it's about...
You simply feel natural, you don't have to adapt to each other, nothing like that.
We just recorded it, Karel and Jiří will cut it, and it will be beautiful.
There's a certain chemistry there and fortunately it works.
Schubertův smyčcový kvintet je opravdu výjimečný,
protože ho napsal jen krátce před svou smrtí.
Možná dokonce neslyšel nikoho tuto skladbu hrát.
Během jeho života asi ani nebyla vydána.
Vyšla mnohem později, což je ovšem ostuda,
protože v té době vydavatel nepoznal, jaké je to úžasné dílo.
A proč je tak úžasné? Samozřejmě je to pozdní Schubert,
ale zároveň jakési rekviem, které si zřejmě napsal pro sebe.
Jako když si Mozart napsal své rekviem...
Právě proto je tak výjimečné, a je také o smrti.
Je to slyšet, zejména v druhé větě.
I'd like to say something personal.
As you can see, I play a small double-bass in the quartet, a sort of bass part.
Now I'm in a somewhat different role.
Since Danjulo and his wonderful Stradivarius takes over the bass role.
I suddenly flow between the viola and first violin, more between the melody.
So I enjoy the piece more because I can listen to the quartet from above.
Since someone plays the bass instead of me. It's great.
I try to play something different, which is interesting for the first cello in quartet playing.
And it rarely happens that you get to hear the whole quartet playing when you go to listen at the hall.
I've never had the chance to listen to the Pavel Haas Quartet without myself.
It's weird, I always only see the other three players.
Since there isn't a Schubert manuscript, which could be the main guide for everyone.
And the Urtexts were made according to the first edition, which Schubert never saw...
In some places, e.g. the 1st or 3rd movements, you can perceive the notation differently to that printed in the original version.
For instance, repetitions. Or some things can be perceived as a coda,
although in the original score they come across as continuation.
So we dared to cut into it and do it in a way we find more musically logical.
Of course, in line with various sources,
in which we tried to detect if it can be interpreted this way.
And we ultimately agreed that it would definitely be better this way.
Perhaps the listeners will hear something a bit different on this recording.
But maybe they won't even notice it.
These aren't different notes, it's rather repetition of various things, etc.
But now we're getting into boring theoretical details.
But we do somewhat ignore the notation.
It didn't quite occur to me previously, but when we really immersed ourselves in it we found many musical nooks.
But if Schubert heard us today, he might say: Yes, this is precisely as it is.
He would certainly say: You do it well!