Franz Schubert:

Pianosonatas in B-major D.575, G-major D.894,

A-major D.959, B flat-major D.960

Alfred Brendel, piano

Recorded live in Das Alte Oper, Frankfurt '98 (D.894), The Concertgebouw Amsterdam '98 (D.575), The Maltings, Snape '99 (D.959), Royal Festival Hall, London '97 (D.960). Recordings are released by arrangement with BBC Music

2001. Philips Classics (2 CD's) 456 573-2 PM2 (mediumprice)

Alfred Brendel is turning 70 this year, believe it or not, and to mark the occation, Philips is releasing this double disc containing live recordings of four of Schubert's pianosonatas. Three of the greats D.894, D.959 and D.960, and an earlier, but no less arresting sonata D.575.

Alfred Brendel has been around for a while, and has left few stones unturned in his remarkable career. His name will forever be connected with the pianomusic of Liszt, Haydn, Beethoven, Mozart and Franz Schubert. His account of the Haydn sonatas keeps its unique position even in competition with recordings by masterpianists like Schiff, Pogorelich or Andsnes. As a Beethoven interpreter no one will dispute his seat among legends as Schnabel, Solomon and Gilels. And he has left us great accounts of Mozart, sonatas and concertos, some of which are brand new. Then of course there is Liszt, a life long companion for Brendel. As a Schubertian Alfred Brendel has been around the block more than once, and his earlier recordings of the three late sonatas here surely are among the finest on record.

The highlight of this release is in my ears the fabolous G-major sonata D.894. From the very first bars Brendel makes evident his masterful structural and rythmic grasp of the music. Its cantabile potential is brought out without becoming just pretty-pretty, the drama and tensions in the music are always riding along on the wagon and are making their way out in front in a remarkably natural fashion, never forced or unnecessarily driven.

The earlier sonata in B-major, D.575, a new addition to Brendel's discography is another most favorable encounter in its somewhat lighter and more youthful mood, but make no mistake it's got Schubert's insignia all over itself, with the shifts in mood coming and going like swift clouds on a windy day. I think a comparison with Mitsuko Uchida's account from 1999 isn't too far fetched. In many ways Brendel's vision seem slightly freer in spirit than Uchida's, which is if not driven, atleast very determined. Both pianists are superb Schubertians, and although I might prefer Brendel in this instace, Uchida's Schubert should not be missed.

Then comes the two final sonatas from the hands of a dying composer, the D.959 and the D.960. Both are in my opinion among the greatest works for the piano ever written, and they have recieved many a fine recording, Brendel's earlier accounts included. Although the versions here doesn't make my absolute top list, they are ripe with the ways of a musician whose knowledge of them is seasoned. The monumental 2nd. movement of the D.959 seems possibly a bit calculated in its tempestous climax, but the finale is ideal in its weaving of moods. The D.960 is fine no doubt, but is not of the same calibre as Brendel's earlier account on Philips (Duo) or that of Clifford Curzon (Decca) if you prefer the sonata without the 1st. movement repetition ( A practice of which Brendel has been a highly expressive advocate)

All in all this is a most enjoyable release, with muscial insight and excellence of execution in abundance. If you allready have versions of these works in your collection, I still urge you to audition this disc. After all you can't really have too many good recordings of such sublime music, I know I can't.

- The images are taken from the Philips Classics CD-booklet

©2001 arne.mork@yahoo.com