The labels attached to Schulhoff’s music may read foxtrot, tango, shimmy or rag, but they translate for the ear into examples of sophisticated and artfully sculpted music. He had a rare talent for capturing the 1920s spirit of his time and turning it into something new that was persuasive through its simplicity, yet crafted with sufficient ingenuity to satisfy the intellect. This is what fuels my love affair with all of his music – the sonatas, miniatures and dances. The start of a new century seems exactly the right moment to document the achievements of one the 20th century’s greatest composers! – Caroline Weichert

Born in Prague in 1894, Erwin Schulhoff, whose precocity was recognised by none other than Dvořák, studied with Reger in Leipzig. He quickly absorbed the influence of Debussy and Schoenberg to form his own style, one that remained much influenced by Jazz and by the zest of dance music.

Czech composer Erwin Schulhoff absorbed the influence of Jazz with genuinely distinctive results. The Fünf Pittoresken absorb both Dada and Scott Joplin whilst more classicist influences, such as Ravel, suffuse the Second Piano Sonata. Esquisses de Jazz (1927) is perhaps his most outstanding Jazz–influenced piece – a perfect synthesis of dance rhythms, wit and irony.

FÜNF PITTORESKEN, OP. 31, WV 51 (1919) 13:25
1 I. Foxtrott (02:38)
2 II. Ragtime (02:59)
3 III. In futurum (silent track) (01:25)
4 IV. One–Step (02:13)
5 V. Maxixe (04:10)

PIANO SONATA NO. 2, WV 81 (1926) 16:07
6 I. Allegretto con moto (06:12)
7 II. Allegro giocoso (01:49)
8 III. Andante cantabile e rubato (04:16)
9 IV. Finale: Allegro moderato (03:50)

ZWEI KLAVIERSTÜCKE, WV 119 (1936) 07:01
10 Nr. 1. Optimistische Komposition
(Optimistic Composition) (03:20)
11 Nr. 2. Den tschechischen Arbeitern
(The Czech Workers) (03:41)

MUSIK FÜR KLAVIER IN VIER TEILEN, OP. 35,
WV 56 (1920) 17:28
12 I. Vorspiel (01:56)
13 II. Thema mit Variationen (09:49)
14 III. Vivo e giocoso (01:44)
15 IV. Nachspiel: Molto rubato e quasi improvvisando(03:59)

ESQUISSES DE JAZZ – SIX PIÈCES FACILES POUR PIANO,
WV 90 (1927) 12:04
16 I. Rag (02:16)
17 II. Boston (03:33)
18 III. Tango (01:36)
19 IV. Blues (01:29)
20 V. Charleston (01:13)
21 VI. Black bottom (01:57)

TOTAL TIME: 66:05

Caroline Weichert began playing the piano at the age of six, before entering the class of her father, Gregor Weichert, when she was sixteen. She later became a pupil of Renate Kretschmar–Fischer at the Musikhochschule in Detmold, where she received her diploma in 1989. To complete her training, she studied with Conrad Hansen, Vitaly Margulis and Yvonne Lefébure. A prize–winner at the Busoni, German Chopin and Schubert competitions, she went on to secure a double victory at the ‘young artists’ concerts’ competition, organised by the German Musikrat, which was decisive for the development of her career. Since then, Caroline Weichert has appeared regularly as a soloist with orchestras such as the Baden–Baden Philharmonie, Nordwestdeutsche Philharmonie and the Telekom–orchester. She also gives numerous recitals and chamber music concerts, showing a particular predilection for repertoires that are less often played. This is attested to by a vast discography for the Koch/Schwann label, in company with members of the NDR–Sinfonieorchester. She received a Discobole award from the Académie du Disque Français for her recording début featuring works by Shostakovich. Since 1992, she has been a tenured professor at the Musikhochschule in Hamburg. Weichert’s first recording for Grand Piano, Schulhoff Piano Works • 1 (GP 604) released in March 2012, received wide critical acclaim, including the prestigious Choc de Classica and Pianiste magazine’s Maestro awards.

Visit her website

For enquiries contact info@grandpianorecords.com
Visit us on