First, who is Erwin Schulhoff? According to Wikipedia, "Erwin Schulhoff (1894-1942) was a Czech composer and pianist. He was one of the figures in the generation of European musicians whose successful careers were prematurely terminated by the rise of the Nazi regime in Germany and whose works have been rarely noted or performed. Antonín Dvorak encouraged Schulhoff's earliest musical studies, which began at the Prague Conservatory when he was ten years old. He studied composition and piano there and later in Vienna, Leipzig, and Cologne, where his teachers included Claude Debussy, Max Reger, Fritz Steinbach, and Willi Thern.
"He won the Mendelssohn Prize twice, for piano in 1913 and for composition in 1918. He served on the Russian front in the Austro-Hungarian army during World War I. He was wounded and was in an Italian prisoner-of-war camp when the war ended. He lived in Germany after the war until returning to Prague in 1923 where he joined the faculty of the conservatory in 1929. He was one of the first generation of classical composers to find inspiration in the rhythms of jazz music. Schulhoff also embraced the avant-garde influence of Dadaism in his performances and compositions after World War I. When organizing concerts of avant-garde music in 1919, he included this manifesto: 'Absolute art is revolution, it requires additional facets for development, leads to overthrow (coups) in order to open new paths...and is the most powerful in music....'" Unfortunately, because of his Jewish heritage, this fine musician and composer died in a Nazi concentration camp.
Second, who are Bruno Monteiro and Joao Paulo Santos? According to his biography, Portuguese violinist Bruno Monteiro is "heralded by the daily Publico as 'one of Portugal's premier violinists' and by the weekly Expresso as 'one of today's most renowned Portuguese musicians.' Bruno Monteiro is internationally recognized as a distinguished violinist of his generation. Fanfare describes him as having a 'burnished golden tone' and Strad states that his 'generous vibrato produces radiant colors.' Music Web International refers to interpretations that have a 'vitality and an imagination that are looking unequivocally to the future' and that reach an 'almost ideal balance between the expressive and the intellectual.' Gramophone praises his 'unfailing assurance and eloquence' and Strings Magazine summarises that he is 'a young chamber musician of extraordinary sensitivity.'"
In an earlier review of Monteiro and Santos performing the music of Portuguese composer Fernando Lopes-Graca, I said of them that they play "so affectionately, so enchantingly, I look forward to hearing them again." Now, I've gotten that chance, and I am no less impressed.
The program contains four works: one suite for violin and piano, two sonatas for violin and piano, and one sonata for solo violin. The thing you have to remember, though, is that Schulhoff began composing at about the time the modern era of music began, and while he is clearly avant-garde, innovative, and experimental for his day, he also has one foot firmly planted in the melodies and harmonies of the older Romantic generation. So his music is a kind of fascinating amalgam of the old and the new.
Anyway, Monteiro has arranged the order of the program in chronological order, starting with the five-movement suite, dating from 1911. It has a generally positive and happy outlook, with the violinist delighting in its almost-classical demeanor. Monteiro's tone is always clean, golden, and vibrant, qualities he maintains throughout the program. The interior minuet and waltz segments appear most adventurous, yet they never become objectionable in their eccentricities. The final movement ends the piece with something originally titled "Dance of the Little Devils," and it's charming in its impish delights, at least the way Monteiro and Santos play it.
The next three items are more overtly "modern," being somewhat less harmonious or melodic. The first sonata has more starts and stops to it, with more contrasting sections and a more emphatic rhythmic drive. Nevertheless, for all of its oddities it comes over with an appealingly pensive mood under the guidance of Monteiro and Santos.
In the solo violin work Monteiro not only gets to show off his more virtuosic talents, he gets to display his knowledge and feeling for the jazz idioms Schulhoff adopted. Finally, in the second sonata we hear a more dance-like feeling from the composer, probably from his embracing more of the native folk elements of his country. Don't expect Dvorak, but you get the idea. It begins briskly, energetically, followed by a highly expressive slow movement and returning in the final segments to some of the same themes with which the music started. Again, Monteiro and Santos make a splendid team, keeping the drama of the piece moving forward with a pulsating, scintillating enchantment.
Producer Bruno Monteiro and engineer and editor Jose Fortes recorded the album at Igreja da Cartuxa, Caxias, Portugal in April 2016. The church makes an excellent setting for the musicians, the sound taking on a touch of hall resonance without in any way affecting the overall transparency of the instruments. We get clarity and dynamic impact aplenty, plus a realistic separation of players, making the listening both pleasurable and lifelike.
To listen to a brief excerpt from this album, click on the forward arrow: