Schubert

Description

First album on naïve by harpist Anja Linder, who offers us a touching journey, with an airy lightness, through Schubert. Two lieder where Laurent Korcia's violin replaces the original voice are accompanied by the Sonata for arpeggione and the famous slow movement of Trio No. 2, where the even more celestial colors of the harp replace those of the piano.
Expression of youth and light conquered through pain, the music of Franz Schubert represents everything for Anja Linder. In 2001, in Strasbourg, a terrible accident forever changes the life of the harpist. Schubert becomes her daily companion in her reconstruction and even strengthens her ever-growing desire for music. The first notes that resonate on the new instrument built for her by engineers Jean-Marie Panterne and Marc Lamoureux? Schubert, of course.
In this first album released on naïve, Anja Linder naturally invites us to a Schubertiade, surrounded by cellist Julie Sévilla-Fraysse and violinist Laurent Korcia. The three friends come together for the sublime slow movement of the second Trio, well known for its uses in cinema (notably Barry Lyndon, by Stanley Kubrick) and adapted by Anja Linder for harp, violin, and cello, a configuration that the musician particularly cherishes and which reminds us that the harp was once a fundamental instrument in the practice of chamber music: until the dawn of the 19th century, its repertoire could be confused with that of the piano and harpsichord.
Before this absolute peak of the Schubert catalog, two Lieder, where the harp exactly takes the piano part when the violin spontaneously replaces the voice, surround the Sonata for arpeggione arranged for cello and harp. A particularly lyrical score, which the Viennese composer wrote in November 1824 for an instrument since disappeared, a sort of guitar-cello, or "viola" guitar, and which all cellists have adopted by transposing it, the Sonata for arpeggione here regains, in the new guise imagined by the harpist, the tone of intimate, dreamy confidence of the original configuration. A very touching musical moment, where the elegance of the harp touched by Anja Linder offers an ideal counterpoint to the airy sound, almost on tiptoes, of Julie Sévilla-Fraysse's cello.