Customer Reviews

Schubert: The Piano Sonatas [Box Set]

5 star:		(22)
4 star:		(4)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

As much as one would prefer complete cycle recordings, very few pianists find so much afinity with a single composer as to offer a compelling account of a complete cycle. Gilels or Richter never played Beethoven complete sonata cycles, Ashkenazy's Chopin cycle is full of great performances as the ballades and others were he seems to fall out of the love with the music as in the polonaises. So the point being that rarely can a pianist do justice to complete sets, why is it that i am giving a 5 star rating to this set? Well, to me it seems that Kempff had all the ideal atributes for Schubert playing as are solid technique and expansive rhythms, concentration in touch and a singing line, but most important is that you feel all throughout these recordings that he loves every detail of the music. Simply put, it seems that he was enjoying himself here and all details considered, his Schubert playing is perfectly balanced. Get it - soundwise Uchida's and Schiff's cycles have now the advantages of modern recordings, but both of them lack the heart Kempff has bestowed here.

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.

All of Schubert's piano sonatas, fragments, and the completed masterworks, together in a neat box; 7 discs worth of pure listening pleasure, allowing one to see how the composer grappled with the keyboard sonata form, and along the way created several masterpieces of the genre. Kempff recorded these works over a period of several years, and whilst the recorded sound quality varies from good to excellent, the quality of interpretation is uniformly high to my ear. This is gorgeous playing, evocatively capturing the shifting moods of this often elusive composer. Are these the greatest of interpretations? Perhaps..perhaps not. Either way, in an increasingly crowded market of recordings, this set has to be highly recommended for many reasons, not the least of which is the utter committment of Kempff to this music and the manner in which he convinces us, the listeners, of the 'rightness' of his choices. Oh, and need I mention again that ALL the sonatas are here, in one very beautifully priced box set

A very nice set, and affordable to boot. I used to be completely sold on Alfred Brendel's Schubert until I grabbed this set one day.
Most notable difference with Kempff (in comparison to Brendel and Pollini) is his sense of rhythm. He does not incorporate very much rubato which, to my ears, gives this music a lot of drive. Kempff does not seem to "rush" the dramatic parts and approaches these sonatas as if they were piano reductions of symphonies.
His performance of D960 is my favorite of the set. The sound is awash in analog tape hiss, the piano sounds distant with a concert hall ambience, and though some Gramophone critic would probably hate this, I found it very pleasing. Kempff's patience and introspection win the day, and provide for an extremely moving performance, and that is only one example of what makes this set worthwhile. The second movement of D960 is incredibly moving; sentimental without playing in an overly-romantic style, and that steady rhythm provided by Kempff is such a great way to let the power of the notes come through. The movement is simple ABA form, and while Brendel seems to treat the "B" section as
a defiant outpouring, Kempff plays with stoicism and resolve. The effect is shattering, and it literally brought me to tears.
Kempff gives himself to the power of the music, rather than attaching the music to his "self".
No need to go over *every* sonata in this set. It is well worth the investment.

Wilhelm Kempff deservedly earned a stellar reputation for his lyrical playing at the keyboard; a splendid example of which is the 1960's cycle of Schubert's sonatas and sonata fragments which he recorded for Deutsche Grammophon. These have all been compiled together in an attractively priced 7 CD set. Although the sound quality varies from good to excellent (It probably should have been image-bit digitally remastered.), what counts most are Kempff's exquisite performances of Schubert's sonatas. Not only are they steeped in lyricism, but there is also much drama and exceptional technique as well. Along with his Beethoven piano sonata cycles, this Schubert piano sonata set is an excellent testimonial to Kempff's prodigious skills at the keyboard. Although others have recorded Schubert's piano sonatas in their entirety, this remains a distinguished set, probably still the one against which others are measured.

We already have some very good reviews here.

Suffice to say that Schubert other than his famous songs/lieders, has been described as "Beethoven in Heaven." Just let me just add a few words for those who are new to Kempff. Kempff is one of the greatest Beethoven interpreters of all times, well known for his warm and singing tone and at the same time, his ability to shape both large and small forms. In the 60s, he had already possessed a perfect balance between intellect and emotion. According to Kempff, these sonatas recorded in his later years speak with a polyphonic web of voices from far-off worlds...

Nevertheless, to some modern ears, particularly to those who are accustomed either to Gulda or Richter's playing, it is likely that they will find more poetry than drama in Kempff's Schubert sonatas and rightly so, for these are essentially lyrical epics anyway. Here the audience will discover and feel for themselves the potency of the unison between "naturalness, spontaneity and exactitude" plus the other-worldness of Kempff's playing. I used to refer to Schnabel quite often but not so much now. Likewise, Brendel's Schubert (unlike his Mozart) is superb, and at times I refer to Arrau (e.g. #899 and 935 which are most consoling), but I return to Kempff more often.

I don't actually believe in benchmark performances. But it's a pity that Richter with his facilities and with a repertoire as big as his, had not spent enough time on all the sonatas. It's even more a pity that Gulda recorded comparatively little Schubert. Well, Richter and Gulda could have recorded all by sight-reading them, one could legitimately imagine. But that would be pure speculation. A lot need to be done before committing them into records (at the very least, a thorough understanding of Schubert's musical language as a whole plus the idea behind each piece and its turns and twists) and once a clear overall picture emerges, most likely your vision and treatment won't be the same anymore. To be able to play a few pieces or a certain period well is different from doing the whole cycle well. How are you going to fit in one piece with the others and how is it different from the rest? After all, very often the meaning of certain unclear or difficult points would only come into light upon reading some other pieces of the same composer. Here, we have Kempff making a wonder of the whole cycle! So, there we are.

While Kempff had in his entire life "sought to bring joy and love to people through ... music". So, may I add that other than his Beethoven cycle (particularly the one in 50s, albeit the one that I go to most is Backhaus) and his Schumann, listening to his Schubert is a JOY that would last you a life time. A thing of beauty is a joy forever indeed!

Schubert's Piano Sonatas essentially are rather private and occasionally introspective works. They are "more Wigmore Hall than Albert Hall" and perhaps this is one reason why they are not so often included in public performances but "Hausmusik" these works are not.

Elliot Richman in an earlier review has said "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." How true, how true! Similar exemplars of Kempff's less frenetic approach include Clifford Curzon, Friedrich Wuhrer and Walter Gieseking. Perhaps in some measure it is appropriate that these Sonatas are bypassed by a few of today's heavy hitters on the international recital circuit for these intimate works do not respond well to modern robotics. I am reminded of Rosalyn Tureck's observation: "I have seen a diminution of passionate involvement in the art of music and I have seen a crescendo in passionate involvement with careers".

None of the Sonatas was publicly performed in Schubert's lifetime. This is a sad quirk of history and certainly not a reflection of their musical worth. Beethoven had thirty of his Sonatas published posthumously but in my view these lovely, often haunting Schubert gems are deserving of an appreciation very much wider than they seem to have; certainly beyond the B flat major and a couple of others which are better known.

Wilhelm Kempff's performance here is to his customary and uniquely high standard of interpretation and empathetic treatment; that alone makes this set a "must buy". Whilst the recordings can be a trifle woolly in places and probably would benefit from the digital magic which Deutsche Grammophon successfully has applied to some other older performances, the quality is entirely acceptable and any shortcomings are in no sense obtrusive.

I adore these pieces; it is very evident that Wilhelm Kempff does too.

This set is a reissue of recordings of Schubert's piano sonatas made in the 1970's. For me this is Kempff's greatest contribution to classical music on record or cd.

Kempff is the master of the poetic, unforced and unhurried interpretation, which lets the music speak for itself and extracts its joys and sorrows in a seemingly effortless and loving fashion. His attention to the essential unity of the music, as well as its color and polyphonic strands beneath the surface, is unmatched. (Perhaps this is because he began his career as an organist). Kempff's sometimes humble, sometimes playful and always direct approach makes him the perfect interpreter of Schubert's phrasing, and offers a delightful and refreshing change from the glitzy showmanship seemingly favored by the pounding technicians of today.

To listen to the sonata D.568 is not just to hear Schubert, it is to welcome a gentle, happy, spring breeze in to your living room. This is first and foremost music which is at ease and yet at times appeals to the depths of the soul in simple, direct terms, absent all pretense. Listen, for example, to the sad beauty of the second movement of the sonata, D959!

For my money this is the finest set of Schubert piano sonatas we are ever likely to see. Don't miss this one!

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.

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.