Schubert: Sonatas for Piano

On this CD:

1. Piano Sonata No. 20 in A major, D. 959
Composed by Franz Schubert
Performed by Todd Crow

2. Piano Sonata No. 14 in A minor ("Grande Sonate"), D. 784 (Op. posth. 143)
Composed by Franz Schubert
Performed by Todd Crow

Tracks:

Sonata In B Flat Major D 960: 1. Molto Moderato
Sonata In B Flat Major D 960: 2. Andante Sostenuto
Sonata In B Flat Major D 960: 3. Scherzo. Allegro Vivace
Sonata In B Flat Major D 960: 4. Allegro Ma Non Troppo
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 1. Allegro Moderato
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 2. Allegro
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 3. Adagio
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 4. Scherzo. Allegro
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 5. Allegro Patetico

Tracks:

Sonata In C Minor D 958: 1. Allegro
Sonata In C Minor D 958: 2. Adagio
Sonata In C Minor D 958: 3. Menuetto. Allegro
Sonata In C Minor D 958: 4. Allegro
Sonata In A Major D 959: 1. Allegro
Sonata In A Major D 959: 2. Andantino
Sonata In A Major D 959: 3. Scherzo. Allegro Vivace
Sonata In A Major D 959: 4. Rondo. Allegro

Tracks:

Sonata In G Major D 894(Op. 78): 1. Molto Moderato E Cantabile
Sonata In G Major D 894(Op. 78): 2. Andante
Sonata In G Major D 894(Op. 78): 3. Menuetto. Allegro Moderato
Sonata In G Major D 894(Op. 78): 4. Allegretto
Sonata In D Major D 850 (Op. 53): 1. Allegro Vivace
Sonata In D Major D 850 (Op. 53): 2. Con Motto
Sonata In D Major D 850 (Op. 53): 3. Scherzo. Alegro Vivace
Sonata In D Major D 850 (Op. 53): 4. Rondo. Allegro Moderato

Tracks:

Sonata In A Minor D 845 (Op. 42): 1. Moderato
Sonata In A Minor D 845 (Op. 42): 2. Andante Poco Mosso
Sonata In A Minor D 845 (Op. 42): 3. Scherzo. Allegro Vivace - Trio. Un Poco Piu Lento
Sonata In A Minor D 845 (Op. 42): 4. Rondo. Allegro Vivace
Sonata In C Major 840 ('Reliquie' - Fragment): 1. Moderato
Sonata In C Major 840 ('Reliquie' - Fragment): 2. Andante
Sonate In A Minor D 784 (Op. 143): 1. Allegro Giusto
Sonate In A Minor D 784 (Op. 143): 2. Amdante
Sonate In A Minor D 784 (Op. 143): 3. Allegro Vivace

Tracks:

Sonata In a Major D 664 (Op. 120): 1. Allegro Moderato
Sonata In a Major D 664 (Op. 120): 2. Andante
Sonata In a Major D 664 (Op. 120): 3. Allegro
Sonata In F Minor D 625: 4. Allegro
Sonata In F Minor D 625: 2. Scherzo. Allegretto
Sonata In F Minor D 625: 3. Allegro
Sonata In B Major D 575 (Op. 147): 1. Allegro Ma Non Troppo
Sonata In B Major D 575 (Op. 147): 2. Andante
Sonata In B Major D 575 (Op. 147): 3. Scherzo. Allegretto
Sonata In B Major D 575 (Op. 147): 4. Allegro Giusto

Tracks:

Sonata In E Flat Major D 568 (Op. 122): 1. Allegro Moderato
Sonata In E Flat Major D 568 (Op. 122): 2. Andante Molto
Sonata In E Flat Major D 568 (Op. 122): 3. Menuetto. Allegretto
Sonata In E Flat Major D 568 (Op. 122): 4. Allegro Moderato
Sonata In A Major D 557: 1. Allegro Moderato
Sonata In A Major D 557: 2. Andante
Sonata In A Major D 557: 3. Allegro
Sonata In E Minor D 556 (First And Second Movements): 1. Moderato
Sonata In E Minor D 556 (First And Second Movements): 2. Allegretto

Tracks:

Sonata In A Minor D 537 (Op. 164): 1. Allegro Ma Non Troppo
Sonata In A Minor D 537 (Op. 164): 2. Allegretto Quasi Andantino
Sonata In A Minor D 537 (Op. 164): 3. Allegro Vivace
Sonata In C Major D 279 (Fragment): 1. Allegro Moderato
Sonata In C Major D 279 (Fragment): 2. Andante
Sonata In C Major D 279 (Fragment): 3. Menuetto. Allegro Vivace
Sonata In E Major D 157(Fragment): 1. Allegro Ma Non Troppo
Sonata In E Major D 157(Fragment): 2. Andante
Sonata In E Major D 157(Fragment): 3. Menuetto. Allegro Vivace

Amazon.com

Wilhelm Kempff was a master of poetic lyricism, with a wondrous keyboard touch and a breathtaking command of subtle dynamics and tonal colorations--all invaluable attributes of any Schubert interpreter. He also had the knack of holding together large structures that can often seem aimless, thus avoiding another trap many pianists fall into, that of lavishing so much attention on passing detail that Schubert's "heavenly lengths" can seem wayward wanderings. The one criticism often heard is that Kempff emphasizes poetry at the expense of drama. This magnificent set leaves that claim unsubstantiated.

Few pianists have been so successful, for example, in what may be Schubert's wildest single movement, the nightmarish Andantino of the A major Sonata, D. 959. Here, Kempff captures the tortured mood of the piece to perfection without breaking its Classical frame. Tempos are generally expansive, but Kempff's tonal luster and unerring sense of natural phrasing never make you want him to step on the accelerator. A special treat is the inclusion of rarely heard early works. Some of these were left unfinished; others reflect a composer still mastering his craft. But most are of more than passing interest, and some have an enchanting, aching beauty. Kempff's Schubert set has been a recording classic since its release on LP; its availability in a space-saving CD box at a budget price is cause for celebration. --Dan Davis

Customer Reviews:

Sometimes the old ways are the best.......2007-04-27

Kempff himself wrote the liner notes to this highly satisfying set and states the following: "The deeper we penetrate into the world of Schubert, however, the greater is our surprise at discovering that the 'heavenly length' for which he is reproached is to be regarded relatively. If the length becomes evident as longueurs, the fault lies with the interpreter (I speak from my own experience...)." Indeed, in listening to Kempff play the Schubert sonata canon the thoughts of "overly long" or "needlessly repetitive" never entered my head. Barring some extraordinary performances of individual sonatas over the years, such as Richter's old Russian recording of the c minor (D 958) on Melodiya or Serkin's equally old recording of the B-flat (D 960), this is the best playing of the Schubert sonatas I know.

I used to think of some of the earlier sonatas as practice or training pieces for the later masterworks (which of course by definition they are, but they need not be viewed retrospectively from the vantage point of the late works). Unfortunately, they often sound boring and immature. This is due to defects in players and the playing, not a problem with Schubert. Kempff makes all the sonatas here, including the early ones, glow with the utmost musicality so they stand on their own as beautiful works. Just one example: In the earlier of the a minor sonatas he handles little secondary figures that are intercalated within major theme phrases in an amazingly musical and beautiful way. As a pianist myself, I could never figure out how to make them unobtrusive, let alone desirable. Under Kempff's fingers they fit sublimely into the fabric of the work. The playing is clearly layered, every note and phrase has its place and purpose, his internal logic is such that nothing Schubert wrote sounds less than as it should. One more example: The first movement of the G major sonata ("Fantasy" sonata, D 894) floats in its ethereal haze but goes fast, not slow. Kempff can produce the effect of suspended animation without suspending the actual motion. This is no doubt what Schubert intended but it is very difficult to pull off as a performer. Kempff's treatment of the last 5 sonatas (D, G, A, c minor, and B flat) is breathtaking.

This set is a revelation. What a magnificent panorama of Schubert's development as a composer! Also, the origins of later composers' styles can be traced to Schubert's writing for piano. The roots of Bruckner's iterated and protracted symphonies can be heard, for example, in the way the finale of the a minor sonata begins. (I don't think this is apparent from other players, who lack Kempff's lyricism and mysticism.) Included beside the actual titled sonatas are various fragments of incomplete sonatas and collections of piano pieces that in effect are untitled sonatas (such as D 459/459A).

The recordings are from around 1965-1970 and the piano sound is singing, glowing, radiant. I recommend this set wholeheartedly to anyone interested in great musicianship, masterly piano playing, Schubert's piano music, and Schubert's evolution as a composer. Kempff makes you realize that the magic didn't all happen in the last year of Schubert's life, and I can't think of another pianist who does that for me. (There are few, if any, major players of Schubert with whom I'm not familiar.) Kempff was the leading German pianist of the immediate post-WW II era, but I think he has largely been forgotten. His Schubert, Beethoven, and Brahms are wonderful. Modern players, despite their steel fingers and elephantine endurance and machine-like (sometimes machine-gun-like) techniques, stand to learn a lot from this old master's art.

The Love of Schubert.......2007-03-30

Absolutely must have for true music lover and particularly the music of Schubert. This is already an old recording but still stands up the comparison with later, newer CD's ( Brendel, Schiff,Lupu, Perahia). Kempff, the old master, now deceased, left a memorable,moving and romantic in spirit rendition of Schubert Piano Sonatas (the first complete set). I heard Kempff performed in live, and always thought of him as the greatest German Romantic Pianist.
This set is the work of true love.

Great, but Prefer the Schiff.......2006-08-06

How can it be that the Schiff cycle is out of print? How does that concept even make sense in 2006?

The one review on the late sonatas by Schiff holds some clues as to why they are so special.

I know that years of listening produces version biases, but I really did try and look past that here, but the C minor 958 is so much less dramatic and compelling in this version. The Schiff version is very hypnotic. Kempff's tempos are totally different. It is interesting, during the runs, there is a tremendous sense of fluidity in Kempff's sound, but in the rest of the piece, it sounds too mechanical. The same holds for some of the others, though in some of the pieces, for instance, 568, the results are less pronounced.

Ironically, I usually like the less embellished versions of pieces, especially when a composer like Beethoven is involved and performers reinterpret him as a romantic, but in this case, the opposite is true. 958 in Schiff's version sounds like one of the towering achievements of solo piano. Here, the elements are all there, but the overall effect is lost.

Elegance, accuracy and expressiveness!.......2006-01-24

These gems recordings are authentic milestones performances. Because there has not been any other pianist capable of making sing the piano like Wilhelm Kempff. His fingering is precise and crystalline, the cantabiles are sumptuous and the arpeggios are phrased with such clarity and expression, that hardly you will be able to forget it.

Go for these performances. They are part of the legend.

Heavenly Length and Breadth.......2006-01-11

There are a number of classical pianists who perform Schubert's piano sonatas extremely well (Brendel, Uchida, Schiff, and Richter come immediately to mind), all of whom bring their own individual brilliance to this music. Given that it is probably impossible to render the "best" performance of each of these pieces, the question arises as to why anyone would want to invest in one musician's complete recordings of these sonatas.

My analysis of this question takes into account several factors. The first of these is economic. The Kempff set is budget price and a significant savings over the acquisition of the sonatas by other artists. Even if economics are not a factor, it may be valuable to compare Kempff's way with these pieces with other pianists and this set will allow the collector to at least have one complete set for comparison purposes.

The basis for investing in these recordings is, however, far from solely economic. There seem to be two components a successful Schubertian must bring to the sonatas: an ability to properly convey the various dynamic markings found in each piece and the ability to understand and convey the complete architecture of each piece, instead of being caught up in the various eddies that so many of the movements contain with them. Kempff is able to satisfy both of these components brilliantly. These albums contain what may be the most beautiful pianissimo I have ever heard. Kempff also seems to have a sure conception of each complete work and does not lose the listener in various musical cul de sacs.

In short, performances this beautiful are bargains at any cost.

Average customer rating:

Brendel's best recording of these
Schubert 's parting "swan songs"
Sublime
Captures the intimacy of Schubert
Lifeless

Schubert: The Last Three Piano Sonatas

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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ASIN: B00000417C
Release Date: 1994-01-18

Tracks:

Sonata In C Minor, D. 958: I. Allegro
Sonata In C Minor, D.958: II. Adagio
Sonata In C Minor D,958:: III. Menuetto (Allegro)
Sonata In C Minor, D.958: IV. Allegro
Sonata In A, D 959: I. Allegro
Sonata In A, D 959: II. Andantino
Sonata In A ,D 959: III. Scherzo (Allegro Vivace)
Sonata In A, D 959: IV. Rondo (Allegretto)

Tracks:

Sonata In B Flat, D. 960: I. Molto moderato
Sonata In B Flat, D. 960: II. Andante sostenuto
Sonata In B Flat, D. 960: III. Scherzo (Allegro vivace con delicatezza)
Sonata In B Flat, D. 960: IV. Allegro ma non troppo
Klavierstucke (Impromptus), D. 946: No. 1 In E Flat Minor
Klavierstucke (Impromptus), D. 946: No. 2 In E Flat
Klavierstucke (Impromptus), D. 946: No. 3 In C

Customer Reviews:

Brendel's best recording of these.......2006-07-07

These are better than Brendel's later digital recordings. His playing is more flexible and his sound is warmer. This is some of his best playing and a must have if, like me, you appreciate his deep understanding of the music.

Schubert 's parting "swan songs".......2005-06-14

It is amazing to look at the last compositions of many of the great composers who often literally wrote their final works from the death bed: Mozart's last opera, clarinet concerto and requiem ... Beethoven's most spiritual last quartets ... and Schubert's stunning C-major quintet and final three piano sonatas. These last piano masterpieces of Schubert - huge in scope and expression - were composed in a compressed space of only three weeks yet show no hurriedness. With these last works, Schubert seemed to enter into a fullness and new maturity - perhaps freeing himself of past limitations of achieving greatness on par with his idol Beethoven. The music he wrote here in his final weeks reveals the depths of his emotion as he contemplated the "winter" of his life and is among the most personal, poinant, and emotionally stirring music in the piano literature. Additionally, there are many direct references with his final and most grief-laden song cycle, Winterreise. In these works you can sometimes really feel Schubert's pain, intense frustration, deep yearning, pulses of joy ... and sometimes his tears.

While generally following classical sonata form, these late piano pieces are most unique in their architecture and progression. One reference had a wonderful description of their structure and effect that was very helpful: "The late sonatas are long musical soliloqies in which the forceful direction of Beethoven's music is replaced by structures that seem to circle round their subject without ever coming to rest. This is not to say these works are in any way self-indulgent or prolix. It is rather that the conventional perception of linear time is her suspended. They have a "landscape-like" quality to them and indeed define an emotional terrain that is unique to Schubert." (Rough Guide)

Many great pianists have recorded these final works - which are truly among Schubert's finest compositions for piano - and each brings something unique to the music. Schnabel first brought this music out of obscurity ... Andras Schiff's readings are full of that Schubertian youth and charm ... Kempff exudes a thoughtful, lyrical and civilized appeal ... Richter offers a unique intensity and insight ... Radu Lupu as always a master poet ... Perahia offers his usual appealing and elegant pianism ... Uchida gives deep and songful readings (though some say overly so at times).

Among these greats, Alfred Brendel has long been recognized as one of the great interpreters of both Beethoven and Schubert. While his style is often pigeon-holed as "intellectual" or "analytical" (maybe its the thick glasses?), Brendel is no less capable of genuine expressiveness and emotional tenderness, as can be heard in these deeply-moving final sonatas. To me Brendel successfully exudes the poinant spirit of Schubert in these works and breathes wonderful expression in them. He is full of Schubertian "celebration of life" in the scherzos and happy allegros while pensive and emotionally volatile in movements like the A major slow movement(D959). In this stuning movement, Brendel's transition from the serene opening into the violent episodes in the middle is an object lesson in musical suspense and unfolding drama. Equally, the ever-so-touching opening of the last B-flat sonata (D960) Brendel admirably conveys with a poinant melancholy that a gravely ill Schubert must have felt when he wrote this movement (although others have captured its depths with more poetry). Subtle differences really; I still like his playing overall, mainly because there is a clear sense of where they are going. He is equally marvellous in the D946 Impromptus pieces and the less-popular C-minor work. But, the A-major seems the most special on this CD.

If you are an average listener with no leanings towards any one of these pianist and looking for a solidly recommended set of these final great sonatas, then this two-CD DUO set is an excellent choice and value. The sound quality of this set is very good - but does have some subtle "machine hiss" and a slight lack of depth. Most major reviewers (like Penguin Guide) also rate Brendel's Schubert very highly (as in this set or his live set also on Philips). Regardless of your choice of recordings, these last piano sonatas are some of the jewels of the piano literature not to be missed that reveal new depths with repeated listening.

Sublime.......2002-09-14

These sonatas are among the finest keyboard productions of the late-classical era. More intimate than Beethoven's, yet imbued with more rhythmic pulse than Mozart's, they require much taste and restraint from the performer. They're also relatively lengthy (the briefest in this set runs nearly 30 minutes). Consequently they're not very popular showpieces for professional pianists, while amateurs rarely develop to the point of being able to play them well. Ironically, Schubert's sonatas are highly melodic and ingratiating, dramatic without being overbearing, sentimental but not maudlin -- just the sort of music that should be "popular."

Brendel's performances are, to these ears, very convincing. He structures each of these episodic pieces brilliantly, rendering a coherent and affecting musical statement. For all its alleged waywardness, there is a transcendent sort of continuity in the music that defies analysis, expressive of a certain though mysterious moment in the composer's life; to hear the transition from classicism to Romanticism, one might listen to Schubert's late sonatas. If that seems too much like "homework," consider that, for melodic invention, Schubert is second to no one who ever presumed to write music.

The recording quality is good, considering its vintage (early 70s). For the price (two CDs for the price of one) this set really can't be topped.

Captures the intimacy of Schubert.......2001-03-09

I have both this and Kempff - I've had the Kempff for awhile and really admired the performance but Brendle takes my breath away. To master Schubert you must master the silent, empty, spaces - and this Brendle does superbly. It's like he's playing in the same room. Excellent recording in every way. The Kempff is fine but if you love Schubert's works you must look for performers who understand the intimacy of his compositions. Marvelous

Lifeless.......2001-02-16

Brendel plays these pieces as if he's bored to death, especially in the (otherwise) gorgeous first movement of the B-flat Major sonata. Grigory Sokolov, Clifford Curzon, and Artur Schnabel are much more adept at sculpting that piece; Sviatoslav Richter offers a very deliberate but heartfelt approach. For the C Minor and A Major sonatas, try Wilhelm Kempff.

Average customer rating:

"Real" classical music for little ones
Very Relaxing, yet still super
Just what we harried ADULTS need to unwind!
Beautiful bedtime music for babies
Peaceful, beautiful, soothing piano music

Perchance to Dream

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

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Reverie: Carol Rosenberger
Such Stuff As Dreams
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ASIN: B0000006X2
Release Date: 1992-05-22

Tracks:

Short Story
My Deal Little Mother (Mein Mein)
Andante from Sonata in C, K. 545
Erinnerung (Remembrance)
Sehr Langsam (Very Slowly)
Abendlied (Evening Song)
Schlummerlied (Slumber Song)
Mignon
Des Abends (Evening)
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Prelude Op. 28, No. 7 in a Major
Mazurka Op. 68, No. 2 in a Minor
Adagio from Sonata in F Major, Hob Xvi:23
Sinfonia V in E-Flat Major
Prelude in C Major from the Well-Tempered Clavier
Aria in G Major from the Goldberg Variations
Andante from Sonata in a Major, Op. 120, D. 664
Intermezzo Op. 117, No. 1
Bagatelle, Op. 119, No. 1
Adagio Cantabile from Sonata Op. 13 (Pathque)

Amazon.com

This is a lovingly-presented and very touching recording. Solo piano works by such composers as Kabalevsky, Tchaikovsky, Mozart, Schumann, and Ravel come together in this collection intended to promote restfulness and calm in both children and adult listeners. With Carol Rosenberger's gentle playing, it succeeds marvellously. This disc is absolutely ideal for bedtime or times of quiet reflection. It might serve well in the car during traffic jams, too. Rather than just throwing together performances packaged on a theme (as a number of record companies are doing), Delos and Rosenberger seem to have tailored the interpretations to achieve the desired musical goal here. The liner notes have a lively section just for young readers. --Gwendolyn Freed

Product Description

Music for Babies/Childrem

Customer Reviews:

"Real" classical music for little ones.......2003-02-27

I bought this CD for my elder son when he was tiny; he listened to it nightly (and often for afternoon naps), and his little brother is continuing the tradition. What I like best about this compilation is that this is REAL music - real Brahms, Mozart, etc - and not watered-down versions or arrangements of the classics (like the vast majority of "classical" compilations on the market these days). (I suppose I am just a crank about this, but I grew up listening to real music, and I want my kids to do the same.) The performances are gentle and understated - not what you would want in a concert, but just right for sedating a small one.

Very Relaxing, yet still super.......1999-06-16

This CD is just wonderful for babies and adults and children. It has a good blend of music to introduce children to beautiful classical music. I think that the playing is just superb.

Just what we harried ADULTS need to unwind!.......1999-02-12

An almost perfect combination of selections for relaxing background music, which is played frequently as our dinner music.

I would have appreciated a little less "electronic doctoring" as some notes (especially the lower range) don't sound quite "true", but then again it could be my ears!

Anyway, am delighted that it does what it was designed to do...provide an enjoyable time of relaxation. Thanks.

Beautiful bedtime music for babies.......1999-01-04

This CD was given to us as a gift when our daughter was born and we always play it when putting her down for a nap or to sleep for the night. When we travel, we take it along to ensure that she will fall asleep as easily on the road as she does at home.The music is absolutely lovely and very soothing for infants and adults alike. We even ordered a second copy in case we were ever to lose or wear out the first one!

Peaceful, beautiful, soothing piano music.......1998-10-22

This is one of the most peaceful, soothing and beautiful CD's I have ever heard. I think it would put you or your baby to sleep every night. The music selection is wonderful and the artist has a beautiful technique on the piano. I loved it.

Average customer rating:

Talent and personality!
Beautiful, Solid Schubert
Murray Perahia is a Schubertian the equal of Kempff and Lupu
Schubert for the thinking man
Mature, thoughtful, beautifully-wrought late Schubert

Schubert: Piano Sonatas, D958, 959, 960

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000996FC
Release Date: 2003-05-13

Tracks:

I. Allegro
II. Adagio
III. Menuetto. Allegro - Trio
IV. Allegro
I. Allegro
II. Andantino
III. Scherzo. Allegro Vivace - Trio. Un Poco Piu Lento
IV. Rondo. Allegretto

Tracks:

I. Molto Moderato
II. Andante Sostenuto
III. Scherzo. Allegro Vivace Con Delicatezza
IV. Allegro Ma Non Troppo

Amazon.com

Perahia's up against some heavy competition from the likes of Arrau, Brendel, Pollini, as well as old-timers like Schnabel and Edwin Fischer. Even in such company he acquits himself well, playing with lean sonority that clearly etches Schubert's melodic lines and clarifies the structure of these sprawling works. In the B-flat Sonata he clearly differentiates the basic tempos of the first two movements, which can often blend into each other by pianists who just play them as two slow movements. In the great Andantino movement of the A major, he's alive to its inherent weirdness as Schubert sends a nostalgically beautiful melody off the deep end to fragmentation, then reassembles it into a broken shadow of itself. His approach here is effective, if relatively restrained as he keeps to a generally classical view of works some turn into Romantic extravaganzas. Perahia's is a worthy addition to the Schubert discography and an excellent way to get fine performances of all three of these great works in one well-recorded, neatly space-saving package. --Dan Davis

Customer Reviews:

Talent and personality!.......2006-03-27

Murray Perahia together with Van Cliburn may be well considered as the most remarkable exponents of talented generation of named American pianists who blossomed after the WW2, who knew to express with total naturalness and absolute spontaneity the Romantic accords. As you know the technical equipment was perhaps the main virtue, inculcated in his professional career. Toscanini in the orchestral conduction (without forget to Reiner), Heifetz in violin and Horowitz in the piano were the supreme musical Gods and became the last peak, the supreme perfection. If you notice for instance, the visible discontent of Toscanini at the moment to conduct the Adagios, you will agree the terrible and distorted vision that generated in most of musicians in progress. Stravinsky, Prokoviev and Bartok were much more closer for this young generation than Brahms or Beethoven. An impressive cloud of competitiveness surrounded all the possible spaces. From U.R.S.S. came Emil Gilels in the Fifties, a formidable artists but also a cold and analytical pianist, which accented still more this fashion tendency; and those European artists who seemed to be linked interms of the old fashion to play, were not precisely the main guests. And if you consider the fact that Van Cliburn has won the prestigious Tchaikovsky Festival in the extinct U.R.S.S. with that battle horse concert, the idea strengthened even more in the spirit and motivational approaches.

Of course there notable exceptions to rule as Earl Wild, Tureck, Kapell and the frist stage of Watts, but somehow they were in opposite flow. In this sense the merit of Murray Perahia is double, in this sense. He kept and nourished the Romantic tradition, till the time came for him to revitalize in the late Sixties, where the new tendencies were much more open minded.

And with the retirement of Van Cliburn at the middle Seventies from musical stages, Perahia and Wild remained as the last survivors of this tradition: Micahel Ponti decided to live in Europe and Raymond Lewenthal chose Paris after that painful incident with sa smuggler in Central Park.

That is among other virtues fundamental reasons to acquire this album. Perahia breathes and transmits that warmth in every one of his multiple records.

Beautiful, Solid Schubert.......2004-08-27

Murray Perahia has established himself as one of today's most compellingly lyrical pianists. This recording of Schubert's last three piano sonatas is no exception. Perahia, while in possession of a beautiful basic tone, uses his mastery of color to accentuate Schubert's subtle and often somber changes of mood and expression. This in fact is probably Perahia's strong point--that he follows exactly what is written in the score while making a poignant statement rather than blindly following the composer's instructions. He executes extremely well. This also may be a drawback to this set, that it lacks a certain spontaneity. However, this is not extremely dramatic, spontaneous music, and Perahia's style fits it well. He handles the bigger moments in the sonatas well, such as the second movement of the A Major Sonata. He will never be the pianist to go to for the Liszt b minor sonata, but that is fine because Perahia is playing Schubert as opposed to Liszt.

Murray Perahia is a Schubertian the equal of Kempff and Lupu.......2004-03-20

I am a big fan of Murray Perahia. I have quite a number of his recordings in my collection. His recordings of the Schubert Impromptus and this collection of the Posthumous Sonatas are wonderful examples of his art.

His interpretations have the healthy outlook and vibrant life force of Artur Rubinstein; yet have the vision of Artur Schnabel. He really is a perfect pianist. (If there is such a thing).

If your'e reading this Mr. Perahia, please do us all a favor, and give consideration to recording all of the complete Schubert Sonatas. It would be a great set!!!

Schubert for the thinking man.......2003-12-16

The late Schubert sonatas are to the pianist what the Bach Partitas & Sonatas are to the violinist --- works that cannot be approached casually, and which require a certain maturity on the part of the artist. With these recordings, Perahia demonstrates his continuing maturity as an artist in recent years.

Perahia allows the music to unfold on its own accord, something which is crucial for Schubert's late instrumental works. His tempi & dynamics are careful & measured, for he knows exactly what each sonata individually requires. The sometimes extreme dynamics of D959, for example, would be wildly out of place in D960. The 1st movement of D958 requires a very steady pace & crescendi that are gradual but not hurried. It is far too easy to let the tempo & dynamics get the better of the artist, but Perahia clearly has control over this.

Throughout all three sonatas, Perahia's tone is sustained and natural, of the most reflective & thoughtful nature. These performances certainly stand up favorably in comparison to the much-ballyhooed series of Uchida, as well as the classic Brendel recordings. This is a crucial recording for those who want to explore the full complexities & nuances of the late Schubert sonatas.

Mature, thoughtful, beautifully-wrought late Schubert.......2003-11-17

This is the second time that Perahia has recorded the middle of these three late sonatas, the well-loved Sonata in A, D. 959. I bought the 2 CD set primarily to hear what he might have to say some 13 years after the original recording. And I was concerned about his technical assurance after several years of physical problems with his hands. I needn't have worried on that account. If anything this reading is more olympian, more assured, more elegant. Earlier reviewers here have asked for more fire. Not I. I want these sonatas to sound like they were handed down from God--as they may have been, who knows?--and in that Perahia succeeds. Just listen to the final movement, the Rondo, of the A major sonata--the one made familiar to millions in an orchestrated version that was the themesong of the popular US sitcom, 'Wings.' I have never heard such songful playing from anyone--this includes Brendel, Goode, Uchida--which is certainly apt for Schubert, our most inspired writer of song melodies. When I got to that fourth movement I hit the repeat button and played it four times in a row, I was so enthralled. Coupled with that is the elfin leggiero of the movement preceding it--almost Mendelssohnian. This is spectacular playing AND spectacular thinking about this great music.

The less-familiar C minor sonata, D. 958--and it is less familiar because it is just a hairbreadth less heavenly than its successors--has a convincing case made for it by Perahia. He does this by emphasizing the ceremonial aspects of the piece--'This is Important Stuff'--by de-emphasizing the corny Alberti-bass recurrences of the accompaniment, using a consistently full but rounded tone, and drawing our attention to the rock-solid formal construction. Hewn from granite, this music.

Many people's favorite Schubert sonata is the final Sonata in B flat major, D. 960. They need not fear that Perahia will distort or underplay its grandeurs. There is a temptation in this sonata to overemphasize the mystery presaged by that ominous low-bass G-flat trill in the opening measures. My own take on that trill, and those that follow it, is that they are primarily harmonic devices, preparing us for the way Schubert takes us far afield. Yes, they are mysterious but they become less and less so, even dying out without a whimper eventually. Perhaps this is a triumph of light over dark? Who knows what Schubert had in mind. As Perahia plays--in unfailingly beautiful tone, be it said--one is not made uneasy by all this, rather one is exalted--by the beauty of the themes, the odd rightness of the unusual harmonies, by the inevitability of the form; the latter is the kind of thing that makes you go 'Of COURSE!' when the form is finally laid out, but it is not easily predicted beforehand. The Andante sostenuto is, to my mind, the most Beethovenian of Schubert's slow movements, and it is given that kind of solemnity and substance by Perahia. The Scherzo that follows comes as an emotional relief from the seriousness of the Andante; Perahia is not often considered to be much of a jokester, but he makes this movement chuckle. The closing Rondo is played with a straight-face, but occasionally hears Perahia (and, of course, Schubert) smiling. And most of all, it dances. An unusually satisfying traversal.

I have liked Brendel's recordings, also Uchida's and Goode's. But at least for now these by Perahia are my favorites.

This 2 CD set has about 112 minutes of music--roughly the amount one would get these days on 1 1/2 CDs--and the price reflects that; that is, one pays about 1 1/2 times what one would pay for one full-price CD. One last word: the booklet notes by Charles Fisk are elegantly written and more informative than most.

Recommended without reservations.

Tracks:

I. Allegro
II. Adagio
III. Menuetto: Allegro
IV. Allegro
I. Molto Moderato E Cantabile
II. Andante
III. Menuetto: Allegro Moderato
IV. Allegretto
I. Moderato
II. Allegretto

Tracks:

I. Moderato
II. Andante, Poco Mosso
III. Scherzo: Allegro Vivace
IV. Rondo: Allegro Vivace
I. Allegro Ma Non Troppo
II. Andante
III. Scherzo: Allegretto
IV. Allegro Giusto
I. Moderato
II. Andante

Customer Reviews:

Awful.......2005-12-23

I bought the complete set, so I could get familiar with all of Schubert's piano works. After a couple of weeks, I threw all the disks away. There are much finer artists who bring individuality, verve and style to some of the greatest piano music ever written. Unfortunately, Mr. Kempf is not one of them.

Beautiful!.......2004-12-25

I have no complaints about this very reasonably-priced set of Schubert Piano Sonatas. In fact, I liked it so much, I bought Volumes Two and Three. The music is lovely, the recording is excellent. These sonatas are not as intense as Beethoven's, written at about the same time, but are in some ways more beautiful; they certainly create a more relaxing musical atmosphere. Though the music has its moments of tension, these interludes are usually resolved in a flowing melody or phrase. I would recommend this set to anyone who enjoys Schubert's music. It's nice to find the old Vox Boxes on CD. It is also enlightening to compare this set to the superlative Wilhelm Kempff's cycle of Schubert sonatas.

Schubert Piano Sonatas by Walter Klein.......2003-05-16

Walter Klein delivers beautiful renditions of the Schubert sonatas in this set of CD's. So much fine music for a real bargain price.

Complete Schubert , well done, at a Great Value.......2000-03-17

Franz Schubert's Piano Sonatas have had the great misfortune of being written about the same time as Beethoven's sonatas. Beethoven's are the ne plus ultra of the piano sonata and are justly esteemed by music lovers everywhere. Schubert's sonatas while lacking Beethoven's ruthless logic and frequent virtuosity are, if anything, more beautiful. They unfold at a serene and visionary pace. Walter Klien does a fine job here and this is one of only two complete sets of the Schubert sonatas available (The remaining sonatas are available in the VOX volumes 2 & 3). I prefer Alfred Brendel in this literature, but he has not recorded the complete set. If you like Schubert, then you will not be unhappy with these performances.

Mozart, Beethoven, Schubert: Piano Sonatas

Average customer rating:

Mozart, Beethoven, Schubert: Piano Sonatas

Manufacturer: Orfeo D'or
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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Beethoven: The Violin Sonatas
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ASIN: B000MX7T04
Release Date: 2007-02-27

Average customer rating:

Fine Recording of These Two Schubert Piano Sonatas But......
Banging
Somewhat studied but always musical Schubert
Over interpreted Schubert

Schubert: Piano Sonatas, D850 & D784

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Schubert: Piano Sonatas
Sonatas / German Dances
Schubert: Piano Sonata in E-flat major, D. 568, 6 Moments musicaux
Schubert Piano Sonatas D845 & D575
Schubert: Piano Sonata D. 960/3 Klavierstücke D. 946

ASIN: B00004TJUU
Release Date: 2000-06-13

Tracks:

Piano Sonata In D Major, D850: I. Allegro (vivace)
Piano Sonata In D Major, D850: II. Con moto
Piano Sonata In D Major, D850: III. Allegro vivace - Trio
Piano Sonata In D Major, D850: IV. Rondo: Allegro moderato
Piano Sonata In A Minor, D784: I. Allegro giusto
Piano Sonata In A Minor, D784: II. Andante
Piano Sonata In A Minor, D784: III. Allegro vivace

Amazon.com

As Japanese pianist Mitsuko Uchida continues her traversal of Schubert, we've been privileged to observe a kind of dual evolution: not only that of the composer, but the accumulated insights of a performer tapping into her by-now exquisitely rare empathy. Some of the most intriguing results have centered on those flashes of the composer's early maturity from the mid-1820s (as in the Piano Sonatas D. 845 and D. 575), revealing what a wealth of musical innovation and variety Schubert had already explored before the highly revered last trio of sonatas: those in C Minor and A and, of course, the crowning B-flat.

Uchida--performing on an exceptionally responsive 1962 Steinway--detonates the bold, high-spirited opening bars of the extroverted Sonata in D (D. 850) with an exuberance of vitality that will make you gasp. It will also lock your attention as you buckle up for the rest of the journey. Uchida is especially at home in those moments when the music seems to float above the patterns it has just created and enter an altogether new region (the final reprise of the stunningly syncopated contrasting material in the slow movement or the trio of the third). While the technique may not be completely flawless, Uchida's execution of musical thought constantly disarms and captivates: whether in its sensitivity to harmonic color or--particularly noticeable in these accounts--in its deft awareness of Schubert's rhythmic complexity and play. The programming also allows for dramatic contrast, with the disjunctive pain of the A Minor Sonata undoing all the extroverted effusion that has gone before; the disc seems to retrace, on a grander scale, the archetypally Schubertian chiaroscuro. With Uchida, every bar becomes a South Sea of discovery--however leisurely Schubert's own meanderings, these are pieces you wish not to end. --Thomas May

Customer Reviews:

Fine Recording of These Two Schubert Piano Sonatas But.............2006-12-28

Much to my amazement, Philips recorded this fine CD in the great hall of Vienna's Musikverein, offering some of the best, most realistic, sound I have heard for a recent classical piano recording. But this superb sound quality may not be a primary reason for those interested in acquiring this CD, which is, in of itself, an interesting study in contrasts between Schubert's most exuberant piano sonata (D major, D850) and most austere (A minor, D784). Distinguished pianist Mitsuko Uchida offers two compelling performances, especially of the D major sonata, which should be of interest to both her fans as well as passionate - and knowledgeable - students of Schubert's piano sonatas. But her performances will be infuriating to some listeners, since she tends to dramatize a bit too much, the accents present in Schubert's scores, especially in the D major sonata (Having heard both Alfred Brendel and Paul Badura-Skoda perform this sonata live in concert, I will note that I have more of a preference for their lyrical interpretations, which are quite dissimilar from each other, and yet, in their own distinctive ways, quite compelling.). Still, I hope that others will agree with me that Uchida has offered her own, thoughtful, interpretations of each score, which should be considered as noteworthy as those I've heard live or in recordings from Brendel, Badura-Skoda and the late, great Wilhelm Kempff. So I will concur with others, most notably the Penguin Guide, that this fine recording should not be regarded as a definitive recording of either sonata; however, it is one well worth listening.

Banging.......2006-09-20

I like Ms. Uchida's work, especially her Mozart piano concerti, and I like Schubert and I thought this a safe bet but I couldn't get through it. In the first movement of D850, it seemed as though Schubert had written repeated accented chords and then filled in the interstices with scrimshaw, and with scrimshaw a bit unsure of itself at that. I was alway brought up short, thinking that we ought to get somewhere with this, but we didn't. It went on, more banging, more noodling, and more banging, until I ejected the disk and gave it away. Schubert doesn't normally require patience. If you want to live to be 150 in subjective time, try Philip Glass or that patience-trying "Bolero."

Out of respect for Schubert, whom I don't know as well as some of the oher great Teutonic composers, I'll look around for another version. Perhaps it takes just the right pianist, like Liszt's "Mephisto Waltz."

Somewhat studied but always musical Schubert.......2006-05-10

If this entire CD recital of two great Schubert piano sonatas were as good as the opening Allegro of D. 850, Uchida would have made one of the best Schubert recordings in a long time. In that movement she shows none of her all-too-characteristic self-consciousness, giving a whirlwind reading full of natural brio. But as the outer movements progress, she does fall into her studied manner, and the second sonata, D. 784, could use a good deal more vigor and less holding back for the sake of extra nuance. Despite this, there is no doubt that Uchida is remarkably musical. I intend to enjoy this CD one sonata at a time, which seems to be the best way to apreciate her fine-grained approach without growing tired of it.

Over interpreted Schubert.......2005-01-26

This is my first time hearing Mitsuko Uchida playing Schubert sonatas.

I've been fortunate to hear a number of fine recorded performances of Schubert Piano Sonatas including pianists Wilhelm Kempff, Sviatoslav Richter, Alfred Brendel, Murray Perahia, Artur Schnabel, Artur Rubinstein, Stephen Hough and, in concert, Leon Fleisher and Seymour Lipkin. To me, Schubert, above all, should sing.

Mitsuko Uchida over-interprets, over dramatizes Schubert, at least in these sonatas, to their detriment. She is so involved in "interpreting" Schubert that she seems to lose the overall picture. The music tends to fall apart. Schubert's piano sonatas, which can appear long winded, lose their overall flow as Uchida plays them. Her emphasis on overly strong, sharply accented phrasing, to me, is sometimes misplaced: It robs the music of its essential song, poetry and coherence. One becomes aware, first and foremost, of Uchida and her efforts "to beautify what is already beautiful", as the Penguin Guide to Compact Discs and DVDs puts it, and secondly to Schubert.

Far better, in both sonatas, is Richter or Kempff whose approach emphasizes the songfulness, poetry and overall structure of this music. For example, listen to how Richter (Living Stage) and Kempff (Deutsche Gramophon) shape the second movement of the D Major Sonata, how they bring out the subtle melodic contrasts and poetry in the movement, versus how Uchida's sudden, overly strong, accented chords seem jarring, break the songfulness and contrasting lyricism of the movement, lose the movement's overall architecture, in a seeming attempt to bring out the beauty that is already in the music.

The Penguin Guide to Compact Discs and DVDs writes of this particular Schubert/ Uchida recording, "{r}ecommended without qualification to Ms. Uchida's admirers, but with caution to others."

Superb realistic, digital recorded sound.

Average customer rating:

Stunning

Schubert: Piano Sonatas

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Schubert Piano Sonatas D845 & D575
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Schubert: Piano Sonata D. 960/3 Klavierstücke D. 946

ASIN: B0000041LZ
Release Date: 1998-01-13

Tracks:

Piano Sonata No. 15 In C, D. 840 'Reliquie': 1. Moderato
Piano Sonata No. 15 In C, D. 840 'Reliquie': 2. Andante
Piano Sonata No. 18 In G, Op. 78, D. 894: 1. Molto moderato e cantabile
Piano Sonata No. 18 In G, Op. 78, D. 894: 2. Andante
Piano Sonata No. 18 In G, Op. 78, D. 894: 3. Menutetto. Allegro moderato
Piano Sonata No. 18 In G, Op. 78, D. 894: 4. Allegretto

Customer Reviews:

Stunning.......2000-07-11

To my mind this recording is as good as Uchida's rendition of Schubert's D. 960 sonata, which is saying something. I've always liked the D. 894, but until I heard Uchida's interpretation, I never realized just how profound it is. As far as I'm concerned you can't ask for more than that from a recording. D. 894 is expansive in the best sense of the word, and Uchida takes it at a leisurely pace so that its delights gradually unfold and then fully flower. This piece seems made for her searching, spiritual readings of Schubert's works, and the coupling of D. 894 with the unfinished torso of D. 840 is very appealing. Like D. 894, the two movements that comprise D. 840 need a lot of room for their momentum to gather and grow, and Uchida supplies the necessary space in abundance.

Tracks:

Piano Sonata 16 In A Minor.: Moderato
Piano Sonata 16 In A Minor.: Andante, poco mosso
Piano Sonata 16 In A Minor.: Scherzo. Allegro vivace-Trio. Un poco piu lento
Piano Sonata 16 In A Minor.: Rondo. Allegro vivace
Piano Sonata 9 In B.: Allegro ma non troppo
Piano Sonata 9 In B.: Andante
Piano Sonata 9 In B.: Scherzo. Allegretto
Piano Sonata 9 In B.: Allegro giusto

Amazon.com

Already well established as one of today's most sensitive interpreters of Mozart, Mitsuko Uchida has more recently brought her probing, quintessentially poetic artistry to bear on Schubert. Her accounts of the composer's final trio of sonatas (the C minor and A major sonatas and the overwhelmingly visionary B-flat sonata) demonstrate that Uchida belongs in the company of such eminent Schubertians as Schiff, Lupu, and Schnabel. And so it is with her latest foray into Schubert's mercurial, often startlingly introspective, world. As one would expect from her grace with Mozart, Uchida commands a beautifully shaded, singing tone and poised sense of clarity, melodic and rhythmic. But when Schubert really begins to come into his own voice in this idiom (starting with the posthumously published Sonata D. 575), there's a good deal more at stake than the mere crafting of sublime melodies. Uchida manages to juggle the daring harmonic shifts, violent mood swings, edge-of-the-abyss pauses, and conversational digressions of these works and somehow sustain a compelling inward intensity. Especially spellbinding is the A minor sonata (D. 845), steeped in a melancholy that Uchida mines richly, with its hints of the greatness to come in the final sonatas. In Uchida's hands, there's even a foreshadowing past romanticism and into the 20th century. --Thomas May

Customer Reviews:

Mitsuko Uchida Plays Schubert Sonatas -- D. 845 & D.575.......2005-03-03

Franz Schubert's piano sonatas are treasures of lyricism and introspection. Many of these sonatas were long neglected, but listeners today are fortunate to have many versions of these works to explore.

This CD by pianist Mitsuko Uchida includes Schubert's sonata in A minor, D. 845 and his early sonata in B major, D. 575. Ms. Uchida is one of today's leading interpreters of Schubert's sonatas. She plays here with thought, care and attention to the details and subtelties of the score. She is faithful to the texts of the works, and, in particular, observes repeats. Her readings are inward in character, as is appropriate for this music. At times, I found myself wishing for more passion.

The A minor sonata D. 845, op. 42 composed in 1825, is a large-scaled, ambitious work which was the first of Schubert's sonatas to be published. It is in four movements. The first movement opens with a melancholy, lyrical theme punctuated by large chords and dramatic pauses. These is an even more lyrical second theme. There is a surprising lengthy development which includes a mysterious, light passage in a remote key followed by large, brooding passages in octaves low on the keyboard. The second movement, an andante, is a set of variations on a simple theme in two parts of 16 measures each. The variations get more complex as they progress, and include a great deal of runs and filigree and a variation in the minor. The movement closes on a note of peace. The third movement scherzo opens with a strongly rhythmic three-note figure which, as is the pattern in this sonata, develops into a passage of big chords. The contrasting trio is quiet and melodious. The finale is a rondo with some resemblance to the finale of Mozart's A minor sonata, k. 330. It opens delicately with broken chords in the minor and builds to a climax. The minor key returns after an interlude in the major. The work concludes with a climactic, sweeping passage and big chords. This is a major work that will reward many hearings.

Schubert composed his sonata in B major, D. 575 at the age of 18.
It is a four-movement work with a wealth of lovely melodies following on top of each other in profusion. The first movement begins with a march-like theme, followed by a passage featuring octaves in the right hand over triplets in the left hand, and then a lyrical quiet theme. The themes are of diverse character, and each is presented in a different key. (I find it helpful to follow this music with the score.) The second movement, andante, begins with a bell-like chordal theme which is soon followed by a singing theme in the left hand. This is largely a quiet movement. The scherzo is lyrical with an opening in the upper register of the piano followed by big chords in the middle of the keyboard. The trio is short and melodic, with a theme using six eighth notes to a bar. The finale is in 3/8 time and opens with a dance-like brusque theme followed by a flowing second theme. The music works to a soft close, with a climactic chord at the very end.

In his piano sonatas, Schubert took his lyrical and melodic gifts and poured them into a large formal structure, transforming it to his own purpose. These are beautiful works for the piano, and they will find their way into the hearts of receptive listeners.

awesome sonatas, awesome performance.......2001-12-15

For years, Schubert piano sonatas were neglected by pianists. Now, however, there are many exponents of this wonderful music, and foremost among them, in my opinion, is Mitsiko Uchida. She perfectly balances a classical appreciation and a profound romantic emotionalism. Although the B-major piano sonata is a youthful endeavor and a fairly interesting work, the great piece on this CD is the a-minor sonata. I will not go in depth into its intricacies (I had written a paper on it), but it clearly portrays Schubert's genius in making simple turns of phrase very chilling. One example: the piece opens in octaves; at the beginning of the development, the first theme is very simply harmonized and its creates the MOST dramatic effect. Also, the first movement coda estremely exciting. Of course, Uchida plays these pieces with great appreciation for both emotional and structural content. Buy this CD!

Superb Schubert from Uchida.......2000-02-19

This CD offers just about the best performances of both these works that you could ever expect to hear. One may quibble certain interpretive details, but overall the playing is incredibly beautiful and flawless in technique.

Another important point to note with regard to this CD is the sound itself: the instrument she plays is a one of the most beautiful Steinways I have ever heard, and the acoustic, with just the right amount of resonance, is perfect. It has none of the abrasive, hard piano tone and dull acoustics you get with so many piano recordings from DG or EMI.

In short, you can't go wrong with this recording.

Average customer rating:

The art to play Schubert successfully!
SCHUBERT ANEW

Schubert: Piano Sonatas

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B00000I9WQ
Release Date: 1999-03-23

Tracks:

Piano Sonata In B Major, D575: I. Allegro ma non troppo
Piano Sonata In B Major, D575: II. Andante
Piano Sonata In B Major, D575: III. Scherzo, Allegretto
Piano Sonata In B Major, D575: IV. Allegro giusto
Piano Sonata In F Minor, D625: I. Allegro
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Piano Sonata In F Minor, D625: II. Adagio (D505)
Piano Sonata In F Minor, D625: IV. Allegro
Piano Sonata In A Major, D664: I. Allegro moderato
Piano Sonata In A Major, D664: II. Andante
Piano Sonata In A Major, D664: III. Allegro
Moment Musical in C Major, D780 no.1: Moderato

Customer Reviews:

The art to play Schubert successfully!.......2006-12-12

Most of actual pianists have been unable to decipher the refined elegance and spirit purity about Schubert' s music and have decided by themselves to replace it by a hedonistic frivolity. That fact not only demerits the intrinsic qualities of his compositions, but reveals an absolute disregard about the relevance of Schubert in the music of the past Century.

If Beethoven reached a colossal peak respect the symphonic genre, Schubert opened a gate and showed us an universe of infinite possibilities where the piano not only expressed a different lexicon, but a true sort of sonorous horizons filled of febrile modernism anticipating himself to the postmodernism echoes of the late XIX.

Richter was one of the worthiest pianists in the History of music who knew to recreate and explore atmospheres through his untiring skillfulness, remarkable imagination, notable musicality, astonishing lyricism without affectation and devoted inspiration.

So, please don' t hesitate just a second at the moment to decide yourself about the interpretative merits of this renowned artists. You will listen unknown facets of the Schubertian language.

SCHUBERT ANEW.......2003-01-17

Recorded live---very!!--- by Richter in March, 1979, at the Royal Festival Hall in London, these are incredibly vibrant and rich performances of incredibly vibrant and rich Schubert piano sonatas. Richter is in rare form here, restraining his usual tempestuous virtuosity in lieu of the more deeply-nuanced substance abiding within every measure of this glorious music. This, of course, is not to say that Schubert's inner turmoil is subdued. No. Not at all. What predominates is Richter's masterly awareness of architecture and emotional content throughout--- and the delicate balance of each upon the other. Familiar as I am with all the Schubert sonatas, which I have loved in so many renditions by various artists, these Richter interpretations still surprise and delight and move me anew.

The B major, D. 575 retains a magnificent ebb and flow, its central Andante the lyrical gravitas; the F minor, with its forward-looking opening and ominous Allegro, its curious Scherzo, and even more curious Adagio, and its march-like, roiling finale is a wonder. But truly exceptional is the A major, D. 664 (Op. 120), which resonates a deeply-felt melancholy, especially poignant in the Andante, that is only mitigated by the third movement Allegro. This is pianism that defies criticism. The D. 780, No. 1 (fr. Moments Musicaux) is a fitting conclusion to the CD, offering quiet closure--- hushed and beautifully played.

A word of warning, though: As this is a live performance, the coughs, sneezes and general scuttling about is all too "live," as well, but luckily most apparent during movement breaks. Disruptive, however, are the bursts of applause after every sonata. When remastered, BBC producer Erik Horsman should have at least deleted these. Otherwise, the sound is remarkably fresh and transparent, as might be expected from a concert, rather than studio, recording. Most impressive and memorable, though, is the fabulous voice Richter gives to Schubert.

[Running time: 78:02]

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