Paradoxically, Schubert’s best-known work for cello is the ‘Arpeggione’ Sonata. A central work in our repertoire, and one of the most difficult, it naturally has its place here. I chose to transcribe the Sonatina No. 1 in D major for, even though written for the violin, it is no less adapted to the cello than the ‘Arpeggione’. Moreover, on the instrumental level, it is not so remote from the Trio No. 1. In its bright key of D major, the Sonatina is a joyful work. With the exception of the brief and dramatic development in the first movement and the unforgettable passage in A minor of the slow movement, it is an open, sunny piece, written by a young Schubert who leaves much room for silences and punctuation.
This programme thus offers us a fairly happy visage of the composer. In any case, it is not the most tortured Schubert. The Trio in B flat is a brilliant work that leaves much room for heroism, with extraordinary rhythmic energy and vivace. A Schubert who, also, gives opportunities for virtuosity and instrumental pleasure.