Sofía Gómez Alberto &
Arthur Di Francesco

Robert Schumann (1810-1856)

Fantasiestucke, Op.73 (Schumann)

i Zart und mit Ausdruck (Tender and with expression), ii Lebhaft, leicht (Lively, light), iii Rasch und mit Feuer (Quick and with fire)

Robert Schumann wrote the pieces over just two days in February 1849, and originally entitled them “Soirée Pieces” before settling on the title Fantasiestücke. The title is one Schumann was fond of, since he used it in several works. This poetic title promotes the fundamental Romantic notion that creative expression is the product of the artist’s unrestricted imagination. In addition, the connotations of “fantasy” justify the sudden mood changes.

York Bowen (1884-1961)

Melody for the G String, Op.47 (Bowen)

Published by Swan & Co in 1923 and later reissued by Josef Weinberger, the Melody for the G string was conceived for violin or viola playing in the same octave register. Accordingly it confines itself to darker hues and a modest range of pitch, its technical challenges arising from its key, G flat major. Assuming an accompanist of professional standing, Bowen is able to embellish and elevate a simple conceit by pianistic and harmonic means. The result is a gently affecting statement in ternary form and triple time, dominated by the rhythm presented in the violinist’s opening notes.

York Bowen (1884-1961)

Allegro de Concert for Viola and Piano, Op.21 No.2 (Bowen)

Originally composed for cello and piano, the substantial Allegro de concert is dated February 1906. Doubtless influenced by Tertis, Bowen agreed that it should also be played on the viola, and this is the way it is most often heard. With its bold piano accompaniment, its headlong opening Allegro con fuoco, and brief wistful central interlude with its hint of an elegiac tune that never fully evolves, it would have allowed Tertis every opportunity to demonstrate his virtuosity and unique tone. Yet even in York Bowen’s press cuttings there seems to be no report of a performance in Bowen’s lifetime.

Franz Schubert (1797-1828)

Fantasy in C Major for Violin and Piano, Op.159 (Schubert)

i Andante molto
ii Allegretto
iii Tema e Variazioni – Andantino-Adagio
iv Tempo I
v Allegro vivace
vi Allegretto
vii Presto

Franz Schubert composed his Fantasy in C major for violin and piano in December 1827. It was the last of his compositions for violin and piano, and was premiered in January 1828 by the violinist Josef Slavik and the pianist Carl Maria von Bocklet at the Landhaussaal in Vienna.

Performers

Sofía Gómez Alberto - Violin

Sofía Gómez Alberto is a Spanish violinist and violist currently studying for a Master of Performance with Itzhak Rashkovsky and Nathan Braude at the Royal College of Music, where she is an Antonio Brosa Award Holder.

Arthur Di Francesco - Piano

French-Spanish pianist Arthur Di Francesco recently graduated from the Royal College of Music, London with First Class Honours, having studied solo piano with Gordon Fergus-Thompson and collaborative piano with Simon Lepper. He previously studied at the RCM Junior Department with Venezuelan pianist Clara Rodríguez, where he was awarded the Constance Poupard Piano Prize and participated in the Première of the “Spectrum 5” album of pieces commissioned by the ABRSM. A Finalist of the Jaques Samuels Junior Intercollegiate Piano Festival and the Royal Philharmonic Society Young Instrumentalist Prize, he has performed in venues including the Wigmore Hall, the 1901 Arts Club (London), the Elgar Room (Royal Albert Hall) and the Cadogan Hall.