Customer Reviews

Alfred Brendel I: Great Pianists of the 20th Century, Vol. 12

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This is absolutely splendid pianism - and I discovered Alfred Brendel's mastery through his interpretation of Mozart's Fantasia in C minor, KV 475. It is a perennial favorite in piano repertoire, and plenty of recordings exist with many famous pianists playing this opus. I listened to all I could get, and my finalists were Claudio Arrau (the Fantasia can be found on the same series of Phiips Great Pianists: Claudio Arrau III) and Alfred Brendel. And Brendel's interpretation is to me more insightful, pensive and expressive; somehow his passagework also sounds more brilliant and distinct in Mozart's Fantasia than Arrau, who is also an incomparable master. But still, I give the laurel wreath of Mozart's Fantasia in C minor to Alfred Brendel.

The music itself is so overwhelming - the early Beethoven is all here, and indeed this piece is another testament of Mozart's genius - his boundless ability in creativity, where during the course of his musical development he leaped from Baroque to Romantic styles.

Mozart composed the Fantasia in C minor, K. 475 in 1785, three years later after his Fantasia in D minor, K397 which was composed in 1782 - the year when Mozart made a thorough study of the music of Bach and Handel. He uses a similar approach here as in Fantasia in D minor - there is no strict sonata form, although the opus has four tempi: Adagio, Allegro, Andantino, and Più Allegro, which defines every sections. Each change of tempo signals the introduction of new material. The Adagio departs from C minor immediately and ventures as far away as B minor over repeated figures in the left hand. The Allegro begins with a wobbling idea in the right hand that focuses on D major, eventually giving way to an area of continuous modulation. For the most part, the ensuing Andantino is so stable that it could almost be performed alone, but it, too, gives way to further modulation and the continuous C minor of the Più Allegro, which emphasizes rapid, expressive figuration.

Regarding Haydn, we should be so grateful to Brendle to bring us this composer who is somewhat in the shade today, yet one can appreciate his genius on this recording. Brendel brings us an innovative interpretation - one can compare his playing in 1985 of Haydn Piano Sonata in E flat major, Hob. XVI:52 with Horowitz' interpretation in 1932. Horowitz plays the same sonata in about 15 minutes (14'41''), while Brendel `s interpretation requires 21 minute, and I cannot say which one is better - perhaps Brendel's is more personal and less distant than Horowitz's; and both are equally virtuosic.

This is a must-have-hear recording.

Like all CDs in this series, this is a wonderful release. Brendel plays Schubert like no one else in terms of fluidity. Most pianists like Zimmerman, Lupu, et al play Schubert with much feeling but somewhat disjointed and one often gets the feeling one piece is actually 3 or 4 separate pieces. Brendel's Schubert flows like nothing I ever heard before. Just listen to the beautiful D899 Andante which is the finest version of the many I heard. Stunning and masterful. I wonder how Richter or Sokolov would have played it, I am still looking for those version if they exists. Brendel's Haydn is likewise very excellent, much like Richter and even Jando who is quite good with Haydn. This CDs shows that Brendel deserves to be ranked wiht the greatest.

Alfred Brendel at his best in 80's recording as part of the 100 double CD collection of Great Pianist of the 20th century

The program is played flawlessly and with heart. The Schuber D. 899 is a perfect example.

The playing is particularly touching in the Mozart Fantasia.

I had the pleasure to listen recently, May 2000, Mr. Brendel perform with Mozart piano concerto 22. The recordings here make justice to his playing.

Highly recommended.