Lillian Fuchs: Complete Music for Unaccompanied Viola

Lillian Fuchs: Complete Music for Unaccompanied Viola

Lillian Fuchs: Complete Music for Unaccompanied Viola
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CD Details

Composer: Lillian Fuchs
Performer: Jeanne Mallow
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 2006-07-25
Music Label: Naxos
Soundtracks:
Music CD 1
  1. Preludio (Moderato)
  2. Venusto (Allegretto)
  3. Piacevole (Allegro Moderato)
  4. Risonante (Andante)
  5. Amorevole (Allegretto)
  6. Risentito (Moderato)
  7. Posato (Andante)
  8. Agilmente (Allegro Assai)
  9. Morbidezza (Andante)
  10. Giochevole (Allegretto)
  11. Strepitoso (Moderato)
  12. Fugato (Allegro Giusto)
  13. Frescamente (Moderato)
  14. Aria Parlante (Andante)
  15. Marziale (Tempo Di Marcia)
  16. Precipitoso (Vivace)
  17. I. Fantasia
  18. II. Pastorale -
  19. III. Allegro - Energico
Music CD 2
  1. Moderato
  2. Allegretto
  3. Andante
  4. Giocoso
  5. Allegro Piacevole
  6. Vivace
  7. Maestoso
  8. Allegro
  9. Comodo
  10. Strepitoso
  11. Dolendo
  12. Amabile
  13. Andante Sonore
  14. Fuga
  15. Perpetuum Mobile
  16. Allegro Giusto
  17. Deciso
  18. Comodo
  19. Agitato
  20. Allegretto Amabile
  21. Mormoramente
  22. Giocoso
  23. Lesto
  24. Alla Marcia
  25. Doloroso
  26. Fuga
  27. Perpetuum Mobile

Music reviews of Lillian Fuchs: Complete Music for Unaccompanied Viola

Music Review: A remarkable achievement
Rating: 5 Stars

This collection contains the first recordings of the entire output of music for solo viola by one of the 20th Century's greatest champions and teachers of the instrument. Miss Fuchs was a profoundly gifted musician, but playing the violin and viola did not come easily to her, in contrast to her brother Joseph, who was a prodigy from the beginning. "Are you still struggling with THAT?" he would say contemptuosly to her when they were children, as she worked hard to master something that he had already tossed off.

This struggle made her understand the techniques and challenges of the instrument in a way no prodigy could, and combined with her considerable gifts as a composer, she wrote what are the most idiomatic and practical studies for it. These are not violin pieces transcribed for the viola. They are written with its highly unique problems and assets in mind.

The first book, the "Twelve Caprices", were written "off the instrument", that is, in the composer's mind, without having the viola in her hands as she wrote them. Though dedicated to her husband Ludwig Stein, a fine amateur player, they were written for her own use, particularly as she was a very small woman, with tiny hands and short arms, playing a big instrument, and as a result, she had very specific needs.

The other two books were written after she began teaching the viola in earnest. Though she was a remarkable and sought-after chamber music coach, "I didn't teach the viola until my 50s," she said, "because I didn't understand it well enough!" They show a unique understanding of the problems young students face in tackling this most difficult of the violin family of instruments, in a musical and satisfying context. Each etude is short, concise and clear in form, with not a single superfluous note or gesture. They are written for modern players and students, without endless repetitions or redundancies.

The "Sonata Pastorale" was written in 1953 to put the techniques presented in the "Twelve Caprices" into a "performance" context. This work, like the three books of studies, is in a tonal but contemporary idiom, following the classical model of the sonata form and it provides great pleasure to the listener as well as to the performer.

Jeanne Mallow, the granddaughter of Lillian Fuchs, is one of today's most remarkable concert performers. She is like her grandmother in that she has her own strongly held musical convictions, grounded in knowledge and study, and guided by a finely honed artistic sense. She is not afraid to follow her musical convictions as far as they take her. Her playing is easy and musical, with a big profile, excellent intonation and a large, gorgeous tone. Her grandmother's playing was equally large in profile but had a certain grand stateliness, even a kind of gravity and reserve, which Ms. Mallow's does not. Her playing has a kind of spontaneous emotionality which is different from her grandmother's playing but utterly winning.

I had the privilege and pleasure of studying all of this music with the composer, laboring over it for five years under her watchful and encouraging eye (she was a truly great teacher), and hearing her play it in demonstration on her huge, 450-year-old Gaspar da Salo viola, the use of which Ms. Mallow has inherited and the instrument she plays in these recordings. She did not have the opportunity to study this music with her grandmother, so sometimes she interprets it in ways which are quite different from her grandmother's. Ms. Mallow is such a fine artist and approaches the work with such care and conviction that her own ideas, though different, are equally valid and convincing.

For me, on a personal level, hearing the sound of the Gaspar again, which I heard week in and week out for those five years, in the same music, here played by different hands, is a moving and wondrous experience.
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