Joyce Hatto’s Schubert 
                Sonata cycle is becoming available on 
                Concert Artist. They have so far been 
                recorded over the decade from 1990 – 
                2000 and are now available singly and 
                I have reviewed all four on this site. 
                It goes without saying that Hatto is 
                a formidable technician whose sense 
                of clarity and form has before been 
                noted as salient features of her profound 
                musicality. The opening volume begins 
                with the litmus test of D959 in A major, 
                coupled with the three Klavierstücke 
                D946. 
              
 
              
The opening movement 
                of the Sonata opens with unusual pliancy 
                and relatively slowly. She makes much 
                of the internal contrasts in this Allegro 
                but there are times when she stretches 
                the line almost to breaking point, a 
                danger she meets with characteristic 
                finger control and nuance. That this 
                is not going to be a heaven-storming 
                example of Schubertian rhetoric is shown 
                by the Andantino. Against Kempff’s overt 
                affection, against Schnabel’s moving 
                depth Hatto instead brings relatively 
                clipped articulation, a sense of cleanliness 
                and almost of anti-romantic linearity 
                and objectivity. To me the lack of titanic 
                struggle gives the movement too scrubbed 
                a sound world but others will, I’m sure, 
                admire its resolve and determination. 
                The Scherzo however is pearly and vivacious 
                and has rather an italicised central 
                section. The finale features good pointing 
                and elasticity and though the themes 
                are gathered up and redeployed well 
                there is a certain lack of phrasal inexorability 
                about the playing. The three Klavierstücke 
                go well; I especially admired the simple 
                songful lilt of the E flat as well as 
                the infectiously deadpan C major. 
              
 
              
Jonathan Woolf 
                
              
See 
                Full list of Concert Artist recordings