Rather than a box of recordings licensed from other
labels and re-released in super-budget format, this set of the complete
Schubert Sonatas (plus extras) has been specially recorded for
the label. Instead of one pianist traversing the whole lot, the decision
was made to share the works among a number of artists, almost all under
forty and based in the Netherlands. On the whole, I think this was a
wise move, as it spreads the artistic vision, and almost certainly stops
any one pianist’s mannerisms from filtering into every performance.
The same venue, and what sounds like the same beautifully regulated
piano, are used throughout, and the engineers have created a very uniform
ambience for every disc. So, at super-budget price you can have modern
digital recordings of all Schubert’s important output for solo piano.
The question is how does it stand up against the formidable competition?
There are at least three excellent sets of the sonatas at mid-price,
from Andras Schiff (Decca -7 discs), Wilhelm Kempff (DG – 7 discs) and
Martino Tirimo, whose digital 8 disc survey on EMI Eminence includes
his own scholarly and convincing completions for the problematic unfinished
works. Add to this numerous individual discs from leading Schubertians
such as Uchida, Pollini, Brendel, Lupu, Curzon, Kovacevich and Imogen
Cooper, and the ‘unknowns’ from Brilliant Classics have a tough job
on their hands. As is often becoming the case with this company, there
is much to recommend it as a good starting point for the new (or financially
challenged) collector. Some performances I found as good as any I’ve
heard, others a little matter-of-fact, but overall, and at the phenomenally
low price, it’s hard not to recommend it.
Disc 1
One of the more experienced international artists on
the set, Klara Würtz, opens proceedings with the greatest of all
the sonatas, D.960. Consequently, she is up against the toughest competition
by some margin. Her rendition is certainly thoughtful, though her slow
basic pulse for the first movement means that she finds it hard to sustain
interest. Richter often played this movement at this speed (or even
slower), but had the personality and magnetism to bring it off. Here,
things get just a little tedious. Also, I find it highly irritating
that she phrases the second subject so quirkily – the tune is in F sharp
major and in the left hand, so it sounds bizarre to me to highlight
top line of the right hand, which is simply descant harmony. Andras
Schiff also does this, but makes it more subtle and graded, and his
quicker pulse helps propel the music forward without losing poetry or
detail. Würtz’s scherzo is less than sparkling (try Pollini here
– wonderful), and the finale a little plodding. Her performance of the
B major D.575 is much more successful. Here, a gently rhapsodic approach
makes the music come alive, and she finds plenty of wit and sparkle
where required, the scherzo (or is it Minuet and Trio?) being a good
example. Rhythmically, she is more convincing in this finale than the
B flat, and seems to find the right Allegro giusto tempo. She is joined
by Pieter van Winkel for the ‘Lebensstürme’ duet, which dates from
Schubert’s last year (the title is the publisher Diabelli’s). This is
marvellously subtle music, with a wide range of emotion, and it finds
these artists on good form. This is an enjoyable version, with virtuosity
and nobility in equal measure.
Disc 2
Frank van de Laar is one of the youngest pianists on
the set, and is not afraid to take risks. The opening of his A major
has an imperious quality that is impressive, with beautifully judged
phrasing and tightly controlled technique. Attention to detail is admirable,
and the many hairpin dynamics are all scrupulously observed without
sounding pedantic. The long last movement, a typically Schubertian Sonata-Rondo,
is well brought off, with the repetitive material subtly varied to give
contrast. His D.566 is no less impressive. This sonata is basically
a two-movement torso, one of the ‘problem’ sonatas. Laar plays the material
for all it’s worth, and includes the disputed third movement, which
was published as late as 1928 but appears in the urtext edition.
Disc 3
This is the only disc to feature the youngest of all
the pianists here, Folke Nauta, who is just 29. He certainly has a huge
dynamic range, and gives the piano a real thrashing in the stormy opening
of the C minor D.958. He may well have been inspired by Pollini’s steel-fingered
account on DG, a version with which this compares quite favourably.
If you like your Schubert less dreamy, or with more overt passion and
boldness, this playing will suit you. Nauta’s headstrong finale may
not be to everyone’s taste, but there’s no denying its effectiveness
in making sense of the long, repetitive paragraphs. Unfortunately, his
boldness of expression carries over to the famous Moments Musicaux,
which lack any sort of charm or magic; the tone here sounds forced,
with ugly fortissimos, and is no match for Lupu or Perahia.
Disc 4
This again features Frank van de Laar, and is broadly
similar to his other disc in pianistic approach. The big D major, D.850,
conceived in the spa town of Bad Gastein (hence the name), is one of
Schubert’s longest and most virtuosic piano pieces. Laar obviously relishes
the challenge, taking us through the many key modulations and shifts
of emphasis with mastery. The folkish scherzo has a buoyancy and rhythmic
lilt that seem entirely appropriate. The naivete of the A flat, D.557
is conveyed without playing down the poetic nature of much of the material,
though scholars argue as to whether this is the final form as Schubert
intended it. The oddly named ‘Relique’ is also more or less a two-movement
torso, with much of the material being high quality Schubert. The first
movement’s leisurely unfolding finds this artist enjoying the long spans
without hurrying, and the small silences in the lovely little andante
second movement have a yearning nostalgia that is moving.
Disc 5
This disc features the only appearance by a pianist
I had heard of, David Kuyken, a very able musician well versed in chamber
music. These are two of the best performances on the set, with playing
of great nuance and refinement. The famous G major, D.894, can live
with the best. I was able to do comparisons with Uchida and Brendel,
and did not find Kuyken wanting in poetry or vision. This music sounds
simple but is exceptionally difficult to bring off. The weighting of
the opening chords (Schubert surely inspired by Beethoven’s Fourth Concerto?)
shows Kuyken’s sensitive touch at its best, and he illuminates many
phrases with great insight. The smaller A minor sonata is not as profound
musically, but has many beauties that are teased out by Kuyken. The
compact andante is played with a simple charm which would have benefited
the Moment Musicaux – it’s a pity these were not entrusted to Kuyken.
Disc 6
Klara Würtz is again featured in two of Schubert’s
earlier but hugely enjoyable sonatas. D 537 dates from 1817 and is the
first of a triumvirate of sonatas in A minor. It is full of invention
and daring key modulations, and shows Würtz’s intelligence as a
player to greater effect than the first disc. The A major is one of
the shortest and simplest of his keyboard works, but has many enjoyable
moments, all enjoyed to the full by this artist. Her previous duet partner,
Pieter van Winkel, gets a chance to shine in the wonderful Drei Klavierstücke,
written only months before Schubert’s death. Their many serene and poetic
phrases are well despatched by Winkel, who does not play to the gallery
or inflate the music – simplicity of utterance is the hallmark here,
and it works.
Disc 7
This is something of a curiosity, as it is the only
disc on the set that uses a fortepiano. Whilst I have nothing against
that (in fact their use is becoming common in Schubert), I’m not sure
why these pieces were picked. In the event it’s not a bad idea, though
as usual the instrument takes a bit of getting used to – it simply sounds
out of tune all the time, and the wonderful falling figuration that
opens the A minor suddenly seems to have lost all its sustained poetry.
Anyway, how you react to this particular disc will depend on your view
on such matters. Bart van Oort’s playing is certainly intelligent and
musical, bit I found myself constantly wanting to hear the same performance
on the modern grand everyone else uses.
Discs 8 and 9
These two discs do a ‘mopping up’ job of many of the
smaller, unfinished or individual pieces. Both pianists are excellent,
investing much of what is frankly slight material with great warmth
and musicianship. Many of these pieces hark back to Mozart and Haydn,
with Schubertian thumbprints shining through in places, points not lost
on either Alwin Bär or Tamara Rumiantsev. Where sonatas are incomplete,
the solution here is usually a repeat of earlier material to round off,
rather than leave it hanging in mid-air or attempt anything more controversial,
as Martino Tirimo does on Eminence. Playing safe is no bad thing, especially
at super-budget price.
Discs 10 and 11
The last two discs of the set are given over to Schubert’s
major keyboard ‘extras’, and are superb in every way. This is the only
appearance by Martin van der Hoek. His ‘Wanderer’ Fantasy I found wholly
compelling, well up with the competition. There is no lack of poetry
or insight, and all this is allied to an excellent technique that is
up to the very formidable difficulties. The massive final fugue is beautifully
controlled, so that every strand emerges with clarity and precision,
though never mechanical coldness. I was reminded of my benchmark, Murray
Perahia, more than once, and no praise is higher. The 8 Impromtus are
not quite in this league, though very enjoyable. There is a delicacy
that is appropriate, though some of the fire and spirit shown in his
‘Wanderer’ could have helped in places to lift the playing and add light
and contrast. Still, it’s churlish to complain too loudly, and I am
being very critical here, comparing his playing to Lupu and Perahia
– praise indeed.
In conclusion, it is only fair to give this big undertaking
a very warm welcome. One could easily live without the earlier, slighter
or unfinished works, and make up a collection of the best sonatas fairly
cheaply from mid and budget discs already in the catalogue. But this
set does present the bigger picture, allowing us to hear Schubert’s
development as a keyboard composer and put many of the later, greater
works into a proper context. At the silly price of around £24.00 (in
the UK), you could easily buy this set and supplement it with other
performances of your favourites by other artists. You would probably
find, as I am doing with repeated acquaintance, that these admirable
renditions of some very great music do not disgrace themselves, even
in exalted company.
Tony Haywood
Klara Würtz
(piano) with Pieter van Winkel (duet) [78.08]