”Der Forellenteich” — eine Variation nach dem Thema des Liedes ”Die Forelle” von Franz Schubert


About the album:

Five contemporary Variations on Schubert’s TROUT QUINTET

„Silke Avenhaus had wanted to record Schubert’s Trout Quintet for a long time. Now five European composers were additionally asked to quasi-casually prolong Schubert’s ambivalences into the present by supplying their own variations. The commission called for works that were to be limited in length, and each composer was asked to focus his attention on a particular instrument. Although all of their pieces are based on the Trout theme, the resulting works vary utterly in terms of character and tempo. As Avenhaus puts it, this is a “godsend”. The new compositions can be grasped as individual movements of a contemporary Trout quintet,but one can also combine them in several different ways.

Is this a “sunny piece”? Cheerful? Carelessly babbling like a brook? It tends to be exclusively associated with positive images, but pianist Silke Avenhaus, the initiator of the “Trout Project”, contrasts all of this with the work’s fundamental ambivalence. In Schubert’s quintet she finds a mixture of lightness and melancholy. The first movement’s insouciance, for instance, is almost casually obliterated in the second one. Schubert does not hold fast to any mood or attitude for long: ambivalence continues to hold sway, and it is a trait she particularly appreciates.

The double bass and the cello form a strong bass section in this particular piano quintet. The line-up may have been unusual and difficult to score in terms of timbre, but Schubert skillfully made best of the situation by expanding the range of different sonorities to the maximum. The low strings fathom the underground. Conversely, the piano, often playing in octaves for long stretches in the upper range, carries out the assigned role of shining brightly on the mountain peaks. The middle range is tenderly filled out by the other strings. The resulting musical texture seems to float in midair.“ (From the liner notes by Elgin Heuerding)


Demnächst Variationen über ein Kanding Liebeslied — für Violine solo
Demnächst “Chinesische Fantasie“ für Violine und Orchester
2022 Alterationen über die Istrische Volkshymne — für Orchester (Op. 29) & für Klavier (Op. 29a)
2022 „Kaleidoskop“ für Klarinette oder Violine, Violoncello und Klavier, Op. 28
2021 Rhapsodie im Istrischen Stil — für Klavier solo
2021 W. A. Mozart / arr. D. Lazić: Adagio in h-Moll, KV 540 — für Streichquartett
2020 Kadenzen & Eingänge für 6 Klavierkonzerte von W. A. Mozart
2020 F. Schubert / arr. D. Lazić: „Der Hirt auf dem Felsen“ — für Klavier solo
2019 “S.C.H.E.rzo“ für Orchester, op. 25
2018 Kadenzen zu den Klavierkonzerten von Joseph Haydn
2018 ”Der Forellenteich” — eine Variation nach dem Thema des Liedes ”Die Forelle” von Franz Schubert
2018 W. A. Mozart / arr. D. Lazić: ”Rondo Concertante” nach dem ”Allegretto grazioso“ aus der Klaviersonate in B-Dur, KV 333
2017 Kadenzen zu den Klavierkonzerten von Ludwig van Beethoven
2017 ”Mozart und Salieri” — Sinfonische Dichtung inspiriert durch die gleichnamige Drama von Alexander Puschkin, op. 21
2014 Klavierkonzert im Istrischen Stil, op. 18
2009 J. Brahms / arr. D. Lazić: Klavierkonzert ”Nr. 3” in D-Dur (nach dem Violinkonzert, op. 77) mit Kadenz von Dejan Lazić
2008 “Istrischer Tanz“, op. 15a
2005 “Kinderszenen“ – Hommage a Schumann, op. 15
2003 “Der Sturm“ – 8 Miniaturen für Orchester, op. 14
2001 “Jupiter and Beyond the Infinite“: Fantasie für Flöte, Bratsche und Klavier, op. 13
Rachmaninov: Moment Musicaux Op. 16, Nr. 1, Andantino (Ausschnitt)