Jazzettes Ursula Schoch & Marcel Worms

• Alexandre Tansman (1897 - 1986): Sonatine transatlantique (Arr. A. Pascal for Violin & Piano):
• 1 I. Foxtrot 03:22
• 2 II. Spiritual & Blues 04:09
• 3 III. Charleston 01:58
• Maurice Ravel (1875 - 1937): Violin Sonata No. 2 in G Major, M. 77:
• 4 I. Allegretto 08:19
• 5 II. Blues 05:29
• 6 III. Perpetuum mobile 04:12
• Wilhelm Grosz (1894 - 1939):
• 7 Jazzband 07:30
• Louis Gruenberg (1884 - 1964): Jazzettes, Op. 26:
• 8 I. Allegretto grazioso 02:36
• 9 II. Lento sostenuto 03:49
• 10 III. Allegro ritmico 03:16
• Aaron Copland (1900 - 1990): 2 Pieces for Violin & Piano:
• 11 No. 2, Ukelele Serenade 03:57
• Erwin Schulhoff (1894 - 1942): Violin Sonata No. 2, WV 91:
• 12 I. Allegro impetuoso 06:28
• 13 II. Andante 03:35
• 14 III. Burlesca 02:28
• 15 IV. Finale 03:45
• George Gershwin (1898 - 1937): 3 Preludes (Arr. J. Heifetz for Violin & Piano):
• 16 No. 1 in B-Flat Major. Allegro ben ritmato e deciso 01:40
• 17 No. 2 in C-Sharp Minor. Andante con moto e poco rubato 03:08
• 18 No. 3 in E-Flat Minor. Allegro ben ritmato e deciso 01:24
• Darius Milhaud (1892 - 1974): Scaramouche, Op. 165b:
• 19 III. Brasileira (Arr. J. Heifetz for Violin & Piano) 02:40
• Claude Debussy (1862 - 1918):
• 20 Le petit nègre, L. 114 (Arr. S. Frenkel for Violin & Piano) 01:50
• Total Runtime 01:15:35

Info for Jazzettes

Ursula Schoch and Marcel Worms play through jazz-inspired music from the interbellum.

For many composers, the introduction of jazz at the beginning of the twentieth century in Europe did not go unnoticed. The spontaneity of the new music, the new sound possibilities, the vital rhythms, the refined, swinging rubato – and improvisation, inseparably integrated with jazz – they were all features which speak to the imagination.


The influence of jazz became audible in symphonic repertoire as well as in chamber music. Although in jazz itself, the violin had never taken a prominent place, many composers chose the instrument for their jazz-inspired works. Even though an essential element of jazz – improvisation – is missing in their music, other elements justify the term “jazzy”: the lively rhythms, the free and whimsical melody lines and above all a light-hearted kind of energy, which mirrors the innovative and optimistic spirit of the Interbellum years.

Ursula Schoch, violin
Marcel Worms, piano

Ursula Schoch
started studying the violin at the age of four. After completing secondary school, she went on to study violin with Saschko Gawrillof and chamber music with the Alban Berg String Quartet at the Musikhochschule in Cologne.

In 1987, Ursula Schoch won first prize with her trio at Jugend Musiziert, Germany’s national music competition for young people. She won the prize again in 1990, this time as a solo violinist. At the 1992 Deutsche Musikwettbewerb she won first prize. She has since made numerous solo appearances in Europe, Japan, Central Asia, America and Africa.

Ursula Schoch has recorded a number of CDs for the Bayer Records label featuring the violin concertos of Brahms, Barber, Bruch, Mendelssohn and other composers.

From 1998 to 2000, Ursula Schoch was a member of the Berliner Philharmoniker. In 2000, she was appointed assistant principal violinist of the Royal Concertgebouw Orchestra.

Ursula Schoch also gives regular performances in various chamber music groups. She is often heard with Marcel Worms in a concert reading by author Jan Brokken, which in 2014 resulted in the cd Baltic Souls.

Schoch plays a violin built by J.B. Guadagnini.

Booklet for Jazzettes