An imaginary Viennese salon concert proves a mixed affair
The Strad Issue: May 2025
Description: An imaginary Viennese salon concert proves a mixed affair
Musicians: Ursina Maria Braun (cello) Florian Birsak (fortepiano)
Works: Beethoven: Variations on ‘Bei Männern’; Cello Sonata no.3. Schubert: ‘An die Musik’ D547; Schwanengesang D957: ‘Die Taubenpost’, ‘Abschied’ (arr. Jansa); ‘Ständchen’ (arr. Lindner). Voříšek: Variations op.9
Catalogue number: AUDITE 97829
Ursina Braun and Florian Birsak’s performing styles seem at odds in this imaginary reconstruction of a Viennese house concert c.1830. Birsak’s playing is generally light and well articulated, as dictated by his Viennese-action fortepiano and endorsed by his fleet passagework in vars. 2,5 and 6 of Voříšek’s op.9. Braun is tonally more intense and introduces numerous expressive slides, some of which seem overcooked.
These players realise the mood swings and Pamina/Papageno dialogue exchanges in Beethoven’s ‘Bei Männern’ Variations with conviction. Braun’s upper-register playing and well-shaped lines are impressive in the outer movements of op.69, as is also this duo’s faithful negotiation of the work’s abrupt shifts of dynamics, mood and texture.
The thorny question regarding re-articulation of the tied note of the Scherzo’s syncopated theme (implied by Beethoven’s annotated fingering) is boldly answered; but the slithery cello double stopping in the Trio and the slides in the lyrical transitional Adagio seem inapposite. The flashes of virtuosity in the finale’s wild development, however, are despatched with gusto.
Although the Schubert song arrangements are more attuned to Braun’s approach, their predominantly staccato accompaniments also befit Birsak’s instrument, especially in Lindner’s expansion of ‘Ständchen’ and in the portrayal of the trotting pony in ‘Abschied’. Audite’s sonics are clear, spacious and natural.
ROBIN STOWELL
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