Notes and Editorial Reviews
Francesca Anderegg (vn); Brent Funderburk (pn)
ALBANY 1361 (66: 25)
Violin Sonata in e.
Rondo in b.
Francesca Anderegg and pianist Brett Funderburk are newly minted professionals who are presenting their first recording. They begin with Mozart’s Sonata, K 304, which the composer wrote in a key that was rather unusual for him, E Minor. They play it with the works of more modern composers because, as Anderegg states in her notes, she designed this program to show the ways in which Schoenberg, Perle, and Carter share the lyricism and expressivity of Mozart and Schubert. Their rendition brings out the pathos in the 1778 sonata, which Mozart wrote around the time that his mother, who was with him on his tour to Paris, died. One can only imagine the sorrow in his heart as he wrote to his father saying that she would never return home. At a later point on the disc, Anderegg and Funderburk play the Schubert Rondo in B Minor with stunning virtuosity, and like the Mozart its purpose on this program is to show its connection to the later composers through the legacy of Viennese tradition.
The austere, dissonant Schoenberg Fantasy seems to be quite the Anderegg-Funderburk cup of tea. The composer finished it in 1949 and dedicated it to the Canadian violinist Adolf Koldofsky at a concert celebrating Schoenberg’s 75th birthday. One of his last works, the Fantasy is a beautifully organized piece in which the composer uses 12-tone technique as a means of working toward his goal of emancipating dissonance. Here Anderegg and Funderburk excel in playing opulent, sonorous dissonances as they converse in the various sections of the work. They know how to handle the Fantasy’s ornate dense textures and they give us an elegant performance. On their 2010 Naxos compact disc, violinist Rolf Schulte and pianist Christopher Oldfather also play it well, but their rendition is somewhat less fiery.
The music of George Perle is similar to that of Schoenberg. He was one of the first United States composers to come under the influence of the Second Viennese School. Judith Sherman, who engineered and produced this recording, herself commissioned Perle’s, which received its premiere at Merkin Hall in New York City in 2003. Anderegg and Funderburk perform it with panache.
Elliott Carter has been composing for more years than most of us have been alive. His music has evolved from something similar to Aaron Copland’s compositions to a much more mature and complex style that is uniquely his own. The
for solo violin form a unit, even though each is dedicated to a specific individual. The dedicatees are composers Goffredo Petrassi, Aaron Copland, Robert Mann, and Roger Sessions. Anderegg plays them beautifully and gives the 2005 Bridge recording with Rolf Schulte serious competition.
Anderegg and Funderburk have given us a disc of great interest for those who love the Viennese tradition.
FANFARE: Maria Nockin
Works on This Recording
Triptych for Violin and Piano by George Perle
Francesca Anderegg (Violin),
Brent Funderburk (Piano)
Period: 20th Century
Written: 2002; USA
Lauds (4) by Elliott Carter
Francesca Anderegg (Violin)
Period: 20th Century
Written: 1984-2000; USA
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