Customer Reviews

Schubert: The Last Three Piano Sonatas D. 958-959-960

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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.

Schubert's last sonatas perhaps more than any other piano pieces sound completely different depending on who is playing them, even among artists of the highest technical proficiency. For me, ever since I listened to the B flat sonata in the early 80s, Brendel is the pianist closest to the heart and soul of Schubert. Technically, of course, he is flawless, but it is so much more than that. In his hands these great sonatas have tremendous beauty and emotional range, not only in the dark passages, but in the lighter ones as well, for example the third movement of the B flat. Brendel also resists the temptation of many artists to play parts of these sonatas so slowly that they lose their grip, yet at the same time he never sounds hurried. I would be the first to admit that Brendel does not have the range of repertoire that some of the greats have, but for me his Schubert is definitive (the Impromptus as well in particular).

While I'm not as taken with Brendel's Mozart and Beethoven, his work on Schubert is for me unsurpassed. Brendel perfectly captures the enormous range of emotions these pieces carry, and he lets Schubert's music speak for itself, never allowing his playing to lapse into overstatement. I'm familiar with Kempff's, Pollini's and Uchida's interpretations, and they're all excellent (Pollini's are a bit cold), but Brendel is the one I always return to. Check out Brendel's playing of Schubert's Wanderer Fantasie and Impromptus (in their entirety rather than the selection on this CD) as well. Unbridled delight guaranteed!

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.

Brendel is the pianist who produces the best tempo in Shubert sonates and Impromptus. Try compareasons with Richter or Horowitz....no doubt they are unique, but you always go back to Brendel (also help by the better quality of sound recording, and this one is perfect). The nuances, the sound and the tempo so natural, make all the difference....This record is a reference and i bet you it will be difficult to do better; all Shubert records by Brendel are irresistible. Buy this one and then you will start to buy all the others! I agree also with the other collegue, for the Wanderer, Pollini has a fantastic maitrise but it is too cold, mechanical...I return always to Brendel and his unique tempo. Try this CD and you will not regret.

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

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.

If you like Brendel and Schubert, BUY this CD.

His control over the dynamics provides a very satisfying rendition of these sonatas. Although this is my first hearing of them, I doubt I'll look elsewhere.

The recording quality is pretty good, despite being vintage. I say this being exrtemely picky with sound quality. I think Brendel's practice of carefully choosing the piano takes care of the beautiful tone it produces, almost making the recording quality a secondary issue. And it is pretty well captured by the stereo recording in this CD anyways. I love the thick lower register chords of schubert that come out so clearly. Its like hearing a full orchestra

overally this is an A+ for quality/price.

This is a fantastic recording of Brendel plays Schbert. Brendel finds, as he does always, the hiden corners in those pieces and bring them to you with sensitivity and passion. There are not many piano players who can play like this. Add to this the fact the double cd in a mid price and you can't get any better bargain. especially if you do not have those sonatas (and also if you do, you should relly consicider of getting this one). I would give this cd more then 5 stars if I could...

The late piano sonatas of the ailing Schubert display sharp contrasts of serenity and unease, the lyrical and demonic, the stormy and songlike.
Poetic eloquence is set against dark undercurrents in the sonatas in C-minor and A, but the wonderful B-flat sonata is marked, above all, by a deftly shaped lyricism even if not completely free of a touch of anguish.
Alfred Brendel shines throughout, but the B-flat sonata and e-flat impromptu shimmer.