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Franz SCHUBERT (1797-1828) Brendel plays and introduces Schubert DVD1
"Wanderer" Fantasie,
D760 (1822)
Piano Sonata in A minor, D784 (1823)
Piano Sonata in C major, D840 (1825) DVD2
Piano Sonata in A minor, D845 (1825)
Piano Sonata in D major, D850 (1825) DVD3
Piano Sonata in G major, D894 (1826)
Impromptus, D899 (1827)
Impromptus, D935 (1827) DVD4
Piano Sonata in C minor, D958 (1828)
Moments Musicaux, D780 (1928)
3 Klavierstücke, D946 (1828) DVD5
Piano Sonata in A major, D959 (1828)
Piano Sonata in B flat major, D960 (1828)
Alfred Brendel
(piano)
rec. Hörfunkstudio, Radio Bremen, June 1976, June 1977, December
1977
Picture Format: NTSC 4:3
Sound Format: PCM Stereo
Subtitles: English, French, Spanish
Booklet Notes: English German, French
Running Time: 565 mins
Region Code: 0 EUROARTS 2056558 [5
DVDs:
9:25:00]
The
more mature Brendel we see on the cover of this magnificent
5 DVD set is not the more youthful, but still distinguished
artist we hear on these excellent recordings. Remarkably,
this is the first general release of these 1976-77 recordings
by Radio Bremen. Each volume consists of a 10–15 minute introduction
to each work by Alfred Brendel, followed by a complete performance.
Brendel speaks in German, but his diction is slow and clear
enough to give even non-linguists an impression of his meaning – the
subtitles being usefully accurate and equally clear. Many
of the aspects Brendel covers in these introductions are
given musical illustrations – demonstrations of thematic
relationships, as well as pianistic/technical subjects relevant
to how Brendel considers Schubert should be correctly interpreted.
Not every pianist will necessarily agree with everything
he says, but I would say they owe it to themselves at the
very least to be aware of his message. The introductions
have a rather dry, almost old-fashioned quality, like those
old Open University lectures broadcasts at ungodly hours
on the BBC in the same period. Brendel’s lectures are, however,
entirely and extremely approachable to anyone curious to
learn more about the substance of Schubert’s mature and late
period piano works, and the means by which they can be brought
to life by a great master.
While
his delivery is measured and objective; Brendel doesn’t shy
away from humour. Comparing some ‘outrageous’ defiance of
the strict rules of counterpoint, the confidingly deprecating
look he gives when illustrating the ‘correction’ made in
the parallel octaves in a Beethoven work is priceless – this
in the introduction to the Impromptus. I was also
highly amused by his comments on repeats in Schubert – that,
while he has nothing against any pianist’s desire to play
certain sections again and again at home, they should beware
of overtaxing their own and their audience’s stamina by religiously
including every repeat indicated by Schubert. He goes on
to indicate his own opinion about the relationship between
repeats and proportion – not an inevitable connection – and
his reasons for leaving certain less convincing repeats out
altogether. There are other anecdotes, such as the time an
ambassador asked him not to play Schubert at a charity concert
the day after the death of Pope John XXIII, as his music
had the association of frivolity. Brendel was of course illustrating
the ‘kitsch’ perception of Schubert which was apparently
still alive and kicking in 1963. This is a recurring theme
in these introductions, one-by-one dispelling the age-old
stereotypical ideas and misconceptions about Schubert – that
he was merely a miniaturist, that his piano works are inferior
songs-without-words, that his sonatas can’t hold a candle
to those of Beethoven, that the late sonatas are misguidedly
poetic; unstructured and wandering ... I would hope that
we know better these days, but if this is still a lingering
impression you might have inherited from your ancestors,
this set will most certainly educate you beyond such antiquated
feelings.
The
actual performance recordings can be a little disconcerting
to start with. The director may initially have considered
the sight of microphones in front of the piano to be beyond
the pale, or he may have been putting noisy cameras as far
out of the way as possible. Either way, for the most part
our main view is from behind the piano – a black expanse
of soundboard hiding the strings. Experienced musicians and
concert-goers might feel a little disorientated by hearing
the front of the instrument and seeing the back, but it is
of course Brendel at work which is the most interesting visual
element. In this regard the camera-work is very good – a
little conservative perhaps, but with no attempts at distracting
special effects, flying cameras, fading, mixing or incontinent
zooming in and out. This is of course largely to do with
the technical limitations of the time, but also shows how
much can be achieved with minimal interference by arty directors;
in this way it is the music which speaks with the loudest
voice. Later on we do get a more all-round view of the shiny
Steinway, and there are views down the length of the piano
showing Brendel’s face, whose mannerisms are easily as fascinating
as the movement of his hands and fingers. Viewers unfamiliar
with Brendel’s playing style will probably find his approach
compact and undemonstrative. There are some moments of extreme
intensity at which he almost seems to stand in front of the
keys, but even then his movements, while intensely expressive,
remain economical and un-flamboyant. British audiences seeing
Brendel down the length of the grand piano may experience
a frisson of recognition, reminded by Brendel’s thickly-rimmed
glasses, facial expressions and hairline, of concert-pianist
satires by one Eric Morecambe. They will however have to
wait a long time before seeing three hands flinging wildly
above the woodwork.
As
far as sound quality goes, I’ve put these DVDs through their
paces as far as possible, and, while no-one need be disappointed,
there are of course some limitations. Brendel’s fruity German
is nicely captured, but there are some minor moments of distortion
in some of the examples he plays during the introductions.
While the performances themselves have a reliable stereo
spread and a rich, possibly too rich piano sound, there is
an air of analogue fluffiness around the whole thing which
means these recordings will supplement rather than supplant
any of the other recordings you may have of Brendel in this
repertoire. Comparing the digital cycle he started for Philips
in 1987, there are many of the qualities and pretty much
all of the intensity in both – just better sound, and certainly
greater dynamic contrast in the CDs rather than the DVDs,
as you might expect. The principal advantage in the filmed
recordings some may find is the absence of vocalisations
from the pianist while playing. These contributions have
never been as prominent as those of Glenn Gould, but the
microphone placement or Eq in the Radio Bremen recordings
mean that Brendel’s voice has been filtered out just about
entirely – other than in some on the musical illustrations,
which merely serves to heighten the point. The point of these
DVDs is of course not only entertainment or the preservation
of top-notch interpretations, but an education which deepens
our appreciation of both Schubert’s and Brendel’s art. As
such, the hi-fi considerations need not be so demanding,
but as I said before, no-one need feel short-changed by the
admirable technical support from Bremen’s Hörfunkstudio.
Alfred
Brendel is arguably the most outstanding modern exponent
of Schubert’s piano music currently performing. He is capable
of bringing not only the verve of this music but also its
poetic intensity and intellectual depth to life with a special
vibrancy. This is true of numerous recordings which he has
made throughout his lengthy career, and his Philips discs
are still among the top recommendations in this repertoire.
The live recordings, Brendel’s own ‘Artist’s Choice’ on Philips
475 7191 should also not be missed. In the mid-1970s
Brendel already had twenty years experience as a recording
artist, and so any fears that these DVDs will turn out to
be dry takes; all spontaneity sapped by studio surroundings
and the impassive glare of TV lenses, should be dispelled
at once. It would be interesting to compare this with a more
recent live single disc DVD of the last three Schubert Sonatas
on Philips released as part of Brendel’s 75 birthday celebrations,
but I don’t have this newer version to hand. I’m not going
to attempt a blow-by-blow comparison of various versions
of Brendel’s Schubert recordings, other than to say that
he is on reliable, sometimes inspired form in this set. There
are of course differences, some subtle, some less so, but
few towards which you would point an accusing finger and
say one is better or worse than the other. The most important
aspect of these DVDs is that, having heard his introductions,
you will almost certainly be listening to old favourites
with new ears. Brendel is not only keen on illustrating Schubert’s
highly inventive approach to harmonic or thematic relationships,
but also points out simple associations, such as the characterisation
of Schubert’s shorter works like the Moments Musicaux,
ideas which you may not have considered or thought about
before. Again, you might not always agree with Brendel, but
at least your mind will have been set on a path of investigation
in seeking reasons for arguing a different point of view.
This
5 DVD box is set at an attractive mid-range price. It’s not
hard to put a value on insight and learning, and with one
of our greatest musical thinkers and pianists playing all
of Schubert’s major works for keyboard, throwing light on
its compositional substance and at the same time revealing
his own highly personal relationship with these masterpieces,
I would have to say this is a true bargain. Every serious
student should at least have the chance of seeing these films,
and as such I would strongly suggest that any self-respecting
music library, school or university department must have
them. I haven’t even mentioned Jeremy Siepmann’s admirable
disc-by-disc booklet notes, but they are the icing on a very
rich cake indeed. These discs contain an infinitely fascinating
document by a pianist who has been on the international concert
scene for decades without losing his magnetism for audiences
and critics worldwide. Brendel’s performances of Schubert
show just why he is a living legend and dean among contemporary
pianists. At well over 9 hours of pure Schubert and Brendel,
these DVDs provide total immersion in the worlds of both,
and after some extended sessions you may find yourself moving
in an economically expressive fashion and speaking with a
soft Austrian accent for a while. In all ways these discs
provide ample food for aficionados of both Brendel and Schubert,
and for everyone who wants to become more familiar with this
significant, if not essential part of the piano repertoire.
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