Schubert: Piano Sonatas D.958 & D.959

Editorial Reviews
Amazon.com
These two sonatas are full of that cosmic, timeless sadness that's such a feature of Schubert's last works. Mitsuko Uchida clearly identifies with their expressive intensity, and proves herself responsive to every melodic and harmonic twinge. Indeed, some might find her a bit hyperactive in her shaping of Schubert's exquisite melodies, particularly in such places as the C-minor Sonata's second subject. But there's no doubting her commitment to the music, or the poetry that imbues everything that she does with it. Ultimately, if you let her carry you along, you'll be captivated. --David Hurwitz

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.

Schubert: Complete Piano Sonatas, Vol. 1

Average customer rating:

Awful
Beautiful!
Schubert Piano Sonatas by Walter Klein
Complete Schubert , well done, at a Great Value

Schubert: Complete Piano Sonatas, Vol. 1

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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Schubert: Complete Piano Sonatas, Vol. 3
Schubert: Complete Piano Sonatas, Vol.2
Mozart: Piano Sonatas Vol 2 / Walter Klien
Walter Klien plays Brahms
Mozart: Piano Sonatas, Vol. 1

ASIN: B000001K5Q
Release Date: 1997-02-04

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.

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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General | Chamber Music | Classical | Styles | Music

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Schubert: Impromptus For Piano
Songs Without Words
The Aldeburgh Recital
Murray Perahia Plays Bach
Handel/Scarlatti: Murray Perahia Plays Handel & Scarlatti

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:

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:

Franz Schubert: The Late Piano Sonatas

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00000E3FC
Release Date: 1990-10-25

Average customer rating:

Poetic - but too much so?
captivating
Very Impressive, but D959 Falls Just Short
very fine, with qualifications
Five, Not Four!

Schubert: Piano Sonatas D.958 & D.959

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Schubert: Piano Sonata D. 960/3 Klavierstücke D. 946
Schubert Piano Sonatas D845 & D575
Schubert: Impromptus
"Beethoven: Piano Sonatas Opp. 109, 110 & 111"
Schubert: Piano Sonatas

ASIN: B00000DI3O
Release Date: 1998-11-10

Tracks:

Piano Sonata No. 19 In C Minor, D. 958: 1. Allegro
Piano Sonata No. 19 In C Minor, D. 958: 2. Adagio
Piano Sonata No. 19 In C Minor, D. 958: 3. Menuetto. Allego
Piano Sonata No. 19 In C Minor, D. 958: 4. Allegro
Piano Sonata No. 20 In A, D. 959: 1. Allego
Piano Sonata No. 20 In A, D. 959: 2. Andantino
Piano Sonata No. 20 In A, D. 959: 3. Scherzo. Allegro vivace
Piano Sonata No. 20 In A, D. 959: 4. Rondo. Allegretto

Amazon.com

These two sonatas are full of that cosmic, timeless sadness that's such a feature of Schubert's last works. Mitsuko Uchida clearly identifies with their expressive intensity, and proves herself responsive to every melodic and harmonic twinge. Indeed, some might find her a bit hyperactive in her shaping of Schubert's exquisite melodies, particularly in such places as the C-minor Sonata's second subject. But there's no doubting her commitment to the music, or the poetry that imbues everything that she does with it. Ultimately, if you let her carry you along, you'll be captivated. --David Hurwitz

Customer Reviews:

Poetic - but too much so?.......2006-01-26

Here are two of the monumental late-great piano sonatas by Schubert (the other being No. 21 D960) by one of today's outstanding pianists, Mitsuko Uchida. These grand conceptions are treasures in the piano literature, largely due to their beguiling melodies, effortless flow and powerful tinges of tragedy. The A major D959 is probably the most popular with the public - with the last work D960 not too far behind - but the C-minor is also a work of epic qualities.

There are many fine recordings of Schubert's piano sonatas which would include Schnabel, Lupu, Brendel, Kempff, Schiff and many others. All are legendary and offer musical insights and delights. When the choices are so good, it really comes down to what nuances and emotive qualities the performer imparts that most capture your heart and soul. And concerning this aspect, Mitsuko Uchida is well known for her "heartfelt" approach to her readings and these works are no exception.

In another review of Schubert's Sonatas by Uchida, Amazon lead reviewer Edith Eisler described Uchida's Schubert style quite accurately I felt. It is a style and approach one hears immediately, but a style with qualities that Eisler failed to realize are exactly why many love Uchida's pianism. Regardless, you can be your own judge of how it strikes you, but I feel her description was well stated and applied to the cycle in general ... "Uchida's interpretation is interesting and highly personal, but rather puzzling. She takes considerable liberties with tempo and dynamics, lingering over details, slowing down to end phrases, hesitating on upbeats. This makes her playing subtle, delicate, and poetic, but also fussy and exaggerated; the expressiveness sounds manipulated, the music loses its pulse, flow, and natural simplicity and is never allowed to speak for itself."

I have to agree with her on this when comparing to other performances, such as Alfred Brendel's Philips' DUO recording. While poetic and beautiful Mitsuko Uchida's pauses, slight shifts and overall rubato in works like the lyrical A major seems to disrupt the flow somewhat and draw attention to such personal nuances of expression rather than the overall progression of the musical story. But it is artistic nevertheless, and such things I conclude are really a matter of one's personal taste and what really penetrates into your being and resonates when listening to these works. Personally, I prefer Brendel's approach but I can also appreciate why many adore Uchida's music. Her expressivity is deep, enchanting and captivating - but may not be to everyone's liking. However, two cycles that have much less dispute overall - and where her magnificance is almost without critique - are the Mozart Piano Sonatas (Philips, 5 CD set) and the Debussy Etudes.

captivating.......2001-08-17

These sonatas are moody, passionate, and at times incredibly gentle, and Mitsuko Uchida captures all these emotions, with her superb artistry and brilliant technique. This wonderful music reveals more of its treasure with each hearing, and my admiration for Ms. Uchida's interpretation keeps growing.

Recorded in '97, the sound is exceptional, with a crystal clear sparkling quality to it. The booklet insert has a piece on how and when these sonatas were written, and makes comparisons to Beethoven, which I fail to see...I find the soul of their compositions are so completely different. The total running time is 73 minutes, and the expressive cover photo completes the package...Ms. Uchida's an extraordinary pianist, and her beauty a photographer's delight.

Very Impressive, but D959 Falls Just Short.......2000-06-19

I have long been an admirer of Brendel's Schubert. For me he has a direct, incisive clarity that lays the music bare in all its startling glory. With the release of Uchida's D960, I had to admit that Brendel had found his equal, and Uchida's recording had the added bonus of the repeats being included. If Uchida had approached D959 in the same way as she did D960--where immense spiritual vistas part and invite the listener in--then we would have had another legendary recording on our hands. Unfortunately, she takes D959 at at pretty brisk clip, especially in the first and outer movements, and those great Schubertian intangibles are lost. I also agree with the previous reviewer that there is a certain self-consciousness in her reading of the slow movement, which I realize must be incredibly difficult to play, even though I am not a pianist. On the other hand, the D958 is played as well as I could have hoped for, which surprised me, since it's a very vigorous, hard-driving sonata, and I've never associated Uchida with the kind of playing she successfully calls forth here. My conclusion? If you can have only one recording of Schubert's final three sonatas, go for Brendel (available on a budget Philips 2-for-1), but if you're a true Schubert afficianado, you owe it to yourself to include Uchida, since there is something new, vital and important in her interpretations.

very fine, with qualifications.......2000-03-30

If this account is worth 5 stars, then what does one give Perahia's or Richter's or Brendel's? Without question, Uchida is a fine pianist and all her strengths are on display on this disc. However, as thoughtful and as integrated as her performance of D959 is, for me her interpretation of the second movement, surely one of the most haunting in classical music, while effective in its own way, lacks the atmosphere, mystery and sheer other-worldliness that other pianists have brought to it. Uchida's playing is hyper perceptive as usual, no arguing that, but that only makes me more aware that I am listening to an interpretation, rather than to the music itself. In short, an interesting and intelligent performance, but not a great one.

Five, Not Four!.......2000-01-09

I felt compelled to submit this review primarily to increase the number of stars associated with this recording (which stood at four due to the review below)!

This disc, along with all of Mitsuko's Schubert, is stunning. She plays with the consummate sythesis of intellect and spirit. She has command of sublime articulation. Her phrasing suggests she has a very personal relationship and understanding of the music. Even if you don't "agree" with her, you must acknowledge and respect her argument. However, I personally hang on every note.

I think her aptitude for Schubert is remarkable considering that her previous successes were with Mozart. Whereas Mozart's music is charmed with bouyancy and effervescence, Schubert is riddled with angst, melancholic malaise, bittersweet beauty, and heart-stopping sadness. Mitsuko's virtuosity in both of these bodies of work is certainly a token of her genius.

Tracks:

Piano Sonata In B Flat Major, D. 960: Molto moderato
Piano Sonata In B Flat Major, D. 960: Andante sostenuto
Piano Sonata In B Flat Major, D. 960: Scherzo: Allegro vivace con delicatezza
Piano Sonata In B Flat Major, D. 960: Allego ma non troppo
Piano Sonata In C Minor, D. 958: Allegro
Piano Sonata In C Minor, D. 958: Adagio
Piano Sonata In C Minor, D. 958: Menuetto: Allegro
Piano Sonata In C Minor, D. 958: Allegro

Customer Reviews:

A Divine Spark.......2007-05-05

Of all the Naxos issues of Schubert's Piano Sonatas, this particular line up, the D. 960 and D. 958 might be the most challenging for Jeno Jando. In the other five volumes of Schubert's Sonatas, Jando has shown consistent proficiency and I think he is meritorious for his interpretations. But when it comes to these two Sonatas, Jando has too many top-tier pianists to contend with. Who would shed the indomitable Perahia or the inspired Brendel for a rendition from Jando? Well, perhaps no one, without an open mind. In my estimation, though, if Perahia and Brendel are great pianists, then Jando is very good.

It's astounding that after the death of Beethoven, the quality of Schubert's compositional output increased almost exponentially. In 1828 he wrote his three last testaments to the piano sonata, his "three sisters... a grandiose trinity of posthumous works" as Bernhard Paumgartner called them, the D. 958, D. 959 and D. 960. Jando did unbelievably well with the D. 959 that I could place him alongside Kempff or Uchida easily. His performance of the D. 958 is close to reaching that same zone, displaying a mixture of articulate phrasing and powerful expression. In the stormy Beethovenian opening movement, Jando seems like he has the right mindset, evoking restlessness and turbulence. Compared with Perahia, Jando is a little staccato-happy, preferring a graceful detached attack. This works to the point of being immaculate in the Adagio, that sublime mist of Schubert's deepest meditations. Jando calls upon Beethoven's 'Pathetique' and takes his time to communicate the deepest kind of melancholy. In the last two movements, Jando applies plenty of drama to his conceptions of these pieces. In the third movement, especially, he brings out the best in the contrasting agitation and lyricism of the minuet theme.

Schubert's gentle and contemplative last Sonata in B flat major D. 960 is somewhat mysterious when compared to its predecessors. While there are sections of fury and passion here or there, the work takes on an air of introspection. In the warm first movement, the darkness of the D. 958 is absent, but there is some lurking "Sturm und Drang" that occasionally pokes its head out from the staves. Jando exhibits total emotional control and technical finesse in this opening movement. As with the Andantino of the D. 959, Jando is also wondrously effective in Schubert's melancholy slow movements. In the Andante sostenuto, that lovely but solemn movement which seems on the verge of breaking free from sadness, Jando doesn't fumble around; he plays with the conviction that Beethoven's Adagio's always receive. Jando's adroit handling of the last two movements, specifically the final Allegro, is also praiseworthy. His clean interpretation is the most unmannered I've heard and he lets the melodic lines develop their individual tones of voice. Speaking of voices, I should warn the squeamish that if the volume is turned up high enough you might hear Jando humming. I have some grievances with humming, but if the interpretation and delivery is superior, I usually forget about it. Rest assured, Jando's humming is not nearly as bad as Gould's.

Bottom line: I think this CD deserves 5 stars simply because Jando can play Schubert really well. Opinions may diverge on whether he can play Schubert like the best of them, but Jando is always thoughtful and emotionally involved. Aside from the humming, Jando has never annoyed my ears with his interpretations and I respect the strengths of his playing in all of Schubert's Sonatas. It will be hard to convince the Schubert lover to sample Jando, which is why I stated from the beginning that presenting these two famous Sonatas was a gamble. Open minds, however, will be rewarded for rolling the dice.

Great Schubert Find.......2001-10-15

This CD of two of the three late sonatas by Schubert is excellently conveyed by Jeno Jando, who is able to capture what Schumann referred to Schubert's music as its "Heavenly Length". Not as popular as Schubert's Impromptus or Moments Musicaux, the Sonatas, in my opinion, are just as well crafted, and seem to have a symphonic nature about them. The last sonata is played with extraordinary breadth and a sense of confidence. And the price is unbeatable as well-You can never go wrong with Naxos.

Great Schubert Find.......2001-10-15

Schubert Piano Sonatas (4) - Huttenbrenner Variations

Average customer rating:

a letter

Schubert Piano Sonatas (4) - Huttenbrenner Variations
Franz [composer] Schubert , and Sviatoslav Teofilovich Richter
Manufacturer: Living Stage
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00003O9J3
Release Date: 1999-12-15

Customer Reviews:

a letter.......2001-02-23

this item is not "S.Richter is playng Schubert" this is "Schubert-Richter" one genius...

Schubert / Mozart / Schumann: Piano Sonatas

Average customer rating:

Terrific performances by 2 capable performers

Schubert / Mozart / Schumann: Piano Sonatas

Manufacturer: Curb Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tracks:

Pno Son in c D958: 1. Allegro - Dieter Zechlin
Pno Son in c D958: 2. Adagio - Dieter Zechlin
Pno Son in c D958: 3. Menuetto. Allegro - Dieter Zechlin
Pno Son in c D958: 4. Allegro - Dieter Zechlin
Pno Son in B flat KV570: 1. Allegro - Peter Rosel
Pno Son in B flat KV570: 2. Adagio - Peter Rosel
Pno Son in B flat KV570: 3. Allegretto - Peter Rosel
Pno Son in g Op.22: 1. So Rasch Wie Moglich - Peter Rosel
Pno Son in g Op.22: 2. Andantino - Peter Rosel
Pno Son in g Op.22: 3. Scherzo - Peter Rosel
Pno Son in g Op.22: 4. Rondo. Presto - Peter Rosel

Customer Reviews:

Terrific performances by 2 capable performers.......2005-05-29

I'd like to find out more about these 2 performers. Both gentlemen play stylishly, but the CD notes tell us absolutely nothing about them. I love some Schubert piano sonatas [e.g. the A major one D. 664], whereas others sound long and meandery to me.

But this posthumous C Minor sonata is enjoyable, especially the opening movement.

Rosel performs the Mozart K 570 stylishly. This is an interesting sonata, with the last movement in Rondo-Sonata form.

I had not previously heard any Schumann sonatas, which is one reason for listening to this CD. It is a short, pleasant work, worth getting to know.

Average customer rating:

Questionable playing; bad recording

Richter: Schubert & Liszt Piano Sonatas
Sviatoslav Richter , Franz Schubert , and Franz Liszt
Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00005B1H2
Release Date: 2001-05-01

Customer Reviews:

Questionable playing; bad recording.......2003-12-23

Richter wasn't at his best here, as shown in this recording of the Liszt Sonata, which is rushed from A till Z and has a blurred coda. He plays the Chopin Ballade well, and the Schubert Sonata is also quite interesting, although he is again a bit too enthousiastic in the last movement. the sound is the worst problem though. The Schubert is still acceptable, but the Liszt sounds almost entirely dried-up and hollow while the Chopin seems to have been recorded inside an aquarium. A very bad pirate issue.

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