Franz Schubert: Fantasy in C Major, Op. 159, D. 934
Igor Stravinsky: Le baiser de la fée (The Fairy's Kiss) (arr. S. Duskin for violin and piano)
Robert Schumann: Märchenbilder, Op. 113 (version for viola/violin and piano)
Olivier Messiaen: Fantaisie

I am attracted to releases like this that straddle multiple composers, and multiple centuries. The combination of different styles can reveal hitherto unseen conjunctions, and the variety itself can enable a recital to have added interest.

There are dangers as well as opportunities. The pieces themselves might lack some gravitas if they are all short and episodic, and the lack of a common thread can undermine the cumulative impact, resulting in that impact ending less than the sum impact of the individual pieces. This danger is mainly avoided in this release.

The program has two substantial pieces, by Schubert and Stravinsky, followed by two slighter pieces. The Schubert is a truly great work, even though dismissed by many of its first listeners. The Stravinsky is a magical realization of early Tchaikovsky songs and piano pieces spiced with a helping of Stravinskian tartness and echoes of Petrushka. After that, the Schumann is a change in intensity, with the final palette cleansing of the short Messiaen piece providing a sharper finish to ease our way out of the concert hall. I found the overall program engaging.

Schubert did not turn to the combination of violin and piano frequently, so the Fantasy is intriguing, especially given that (chronologically) it falls into his later period. It does not reflect an introspection often associated with 'late' pieces. Schubert was still so young in 1827 that as Brendel and others have suggested, he did not necessarily see it as his 'late' period of course. Instead, this work broadly displays supremely singing lines (first two movements and parts of the 3rd movement variations) and concludes with soloistic brilliance and positive energy. Soloist and pianist are virtually equal partners in the Schubert in particular, so their contributions are just as vital as each other.

There are several fine interpretations available in modern recordings, such as Julia Fischer with Martin Helmchen on Pentatone PTC5186519, and Alina Ibragimova with her frequent recital partner Cédric Tiberghien on Hyperion CDA67911/2. Julia Fischer's performance is very capable, poised and wholly convincing, and that of Alina Ibragimova suffused with thrilling energy and persuasive command and sensitivity. I also recently heard and enjoyed that of Júlia Pusker & Zoltán Fejérvári on Hungaroton HCD32833. In the end, couplings may help a buyer decide which version to go for, all those above coupling the Fantasy with other of Schubert's works, unlike the current reviewed release.

The opening of the Schubert Fantasy is remarkable, it never fails to amaze me. With a bubbling piano tremolo giving a quiet call to attention, the long-breathed violin melody slowly unfolds in several phrases, with a gentle melancholy in the final phrase. This melody spreads over the whole of this short section of just over 3 minutes. Alena Baeva and Vadym Kholodenko perform this with expectant gentleness and the singing lines emerge clearly.

They go on to perform the rest of the Fantasy with energy and great skill. I particularly relished the gentle second movement Allegretto and sometimes sprightly Andantino (variations) before the work concludes with the bright Allegro vivace and the final Allegretto. I enjoyed the performance greatly and have listened many times with sheer pleasure.

Turning to the Stravinsky, the opening of the Sinfonia in the original orchestral version always puts me straight into the world of the First Symphony ('Winter Daydreams'). It is a magical start to the work, initially with another beautiful winding melody before the middle section speeds things up. While the violin and piano version has a different feel to the original orchestral version, that instrumental color does add a pleasing intimacy that suits the work's adaptation of some of the early songs and solo piano works of Tchaikovsky. Plenty of echoes of Stravinsky such as in the Scherzo provide a piquant contrast. It's almost like attending a dual ballet. On the one hand Tchaikovsky, such as in the 2nd movement Dances Suisses based on the "Humoresque" from Two Pieces, Op. 10 (1871), and the gentle Pas de deux Adagio. On the other hand, it is clearly a Stravinsky ballet at the same time! It's a fascinating mixture and an excellent performance of a lovely, but sometimes overlooked work of this composer.

While I do not think the Schumann Märchenbilder are quite on the same genius level of composition as the other items on the release, they are an always enjoyable listen, and the 1st movement Nicht Schnell and 4th movement Langsam are delicately phrased.

The final Messiaen comes as a bit of a shock to the system, but one that fits well at the end of the program. It's the 20th century making its presence felt. It was composed for his first wife (a violinist) and is relatively short (just under 8 minutes). The pianist breaks the gentle tone of the previous Märchenbilder with strident chords at the start, joined shortly by the violinist for an engaging Fantaisie based on three tunes.

Overall, I greatly enjoyed this release. The recording is well balanced. It is close, appropriate for this instrumental scenario, so a small amount of the artists' noise is heard. It did not bother me, adding to the realism and the feel of a chamber/solo concert with real people in real time. The playing is of a high order, and if you are interested in this varied program, then I would not hesitate. If you prefer an all-Schubert program, then there are several excellent alternative recommendations, some noted above. For my part I will happily listen to this release many times outside the 'review' umbrella.