I greatly enjoyed Viviana Sofronitsky’s Mozart piano concertos
(see review),
and still dip into it on a fairly regular basis – always a positive
sign that good first impressions have held up over the longer
term. This Schubert recording uses an instrument by the same
maker, with a fortepiano modelled on one by Conrad Graf (1819)
built by Paul MacNulty. The remarkable variety of colours and
textures available from this instrument is fully explored by
Sofronitsky in the Wanderer Fantasie. From it she coaxes
exquisitely delicate music-box soft moments, muffled tones and
the kind of sharply observed dynamic drama which can become
a little monotonous on a modern piano.
Melvyn Tan set the standard for fortepiano recordings in past
decades, and his Virgin Veritas two disc survey of Schubert’s
music, which includes the Impromptus D935 and D899,
is still very much worth having. The EMI recording is a little
gentler than the Avi-Music balance, with more distance between
the listener and the instrument. Tan is more romantic in approach,
allowing for more rubato and sustain where Sofronitsky is more
direct. The first Impromptu D899 is a typical example,
in which the articulation of the notes seems as important as
the shaping of melodic lines and phrases to Sofronitsky. This
is a challenge in its own right: who can we say is more accurate?
Do we allow for more generosity of romantic spirit in music
which still feels the pull of Mozart, or do we emphasise the
classical in music which expresses emotion in the deepest ways
available to but stretching the style and idiom of the day.
Sofronitsky by no means plays without expression, but her articulation
is more angular than most versions you will probably have heard
until now. I could accuse her second Impromptu D899
of being too choppy and vertical sounding. Indeed there are
passages where the repetitions seem to stack up rather than
moving the musical narrative along. That said, the contrast
of touch and the dramatic world created also have plenty to
offer. The singing melody of the third Impromptu D899
provides an illusion of a sustained line on any piano. Sofronitsky
carefully and effectively paces the movement so that this works
as well as possible. Even so, the balance of melody is a mote
too weak against the myriad accompanying notes though still
sweeping along with fine and at times touching character. The
last of the D 899 set is rather magical in its opening and closing
bars, the lightness of touch – I take it with soft pedal – creating
an ethereal atmosphere you’re unlikely to hear anywhere else,
certainly not with Tan. The music comes into focus and advances
as the effect is lifted, and the progression into the minor
key is all the more dramatic for this extra layer of colouration.
The comments for D899 apply to a large extent also
to the Impromptus D935. Sofronitsky obtains the maximum
effect from the instrument. There are many aspects of these
pieces which one can discover anew when hearing it on a fortepiano
as opposed to a modern concert grand. You can tell the shading
of light and dark in the first of the D935 set is exactly
the effect Schubert would have had in mind, though the almost
skipping tempo with which the second piece opens may or may
not have been what he had in mind. Sofronitsky connects this
with the dance rhythms which are the origins of the work. He
seeks depth of expression in its brilliant contrasts of tonality
and dynamic, rather than exploring artificial profundity in
languor of tempo. The disarming melody of the third in this
set is perhaps presented a little too heavily for my taste,
though there is a marvel of difference in some of the variations
which follow. The closing dance of no. 4 is lively and full
of surprises.
Saving the best until last, it is the Wanderer Fantasie
which impresses me most on this recording. Viviana Sofronitsky’s
performance is one which fascinates at all levels. The anticipation
of hearing how certain passages will sound on the MacNulty instrument
is always rewarded with refreshing and unusual sonorities and
tremendous inventiveness. Being a huge fan of Schubert’s piano
sonatas and lieder I’ve been less keen on this work in general,
but hearing the way it can sound on fortepiano and played so
expertly has revived my interest more than somewhat. Schubert’s
melodramatic writing makes absolute sense with this instrument,
and the at times almost orchestral sounds which emanate clearly
show how Schubert anticipates later generations and names such
as Wagner, Berlioz and Liszt in his exploratory harmonic relationships
and thematic developments. The difference between a pp
and f or ff isn’t just soft or loud here,
and the change in colour and texture between different moments
is hard to describe in words. Take the bass line from 1:51 to
2:10 in the second movement Adagio, which has a driven,
vocal quality as the dynamic increases. I find the personality
which emerges from this kind of effect quite bewitching, and
the entire piece comes alive in this version.
This recording probably won’t substitute your favourite concert
grand performances, but if you still perceive listening to the
fortepiano as a kind of hair-shirt experience then this disc
should make you think again, though it does require decent equipment
to bring the best of the subtleties of colour to the fore.
Dominy Clements
Viviana Sofronitsky (fortepiano)
