Franz SCHUBERT (1797-1828)
Impromptus, D899, D935 (1827)
Amir Katz (piano)
rec. 27-28 February 2015, Funkhaus Nalepasstrasse Saal 1, Berlin, Germany
ORFEO C898151A [63:37]
Amir Katz is an Israeli pianist in his early forties. His
recordings include Chopin’s Nocturnes, Ballades and Impromptus, and
Schubert’s Die Schöne Müllerin, with tenor Pavol Breslik. The song-cycle
is especially relevant to this project, as Katz sees Schubert’s eight
Impromptus as a “drama in eight stages”, almost a set of lieder
without a singer. In his informative and provocative notes, Katz makes the
point that the pieces in what we know as the second set (D935) were originally
numbered 5-8, reinforcing the idea that Schubert conceived the impromptus
as a continuous composition. Katz is a little vague on what story he believes
Schubert to be telling. The narrative seems to be about journeys and fathers
but you need not accept Katz’s perspective to enjoy what he does with
this wonderful music.
Many great pianists have recorded these pieces. Katz belongs with the best.
His playing is marked by clarity, with taut rhythms and rather controlled
rubato and pedal. He avoids sentimentality and is thoughtful as to detail.
His Schubert is very much a classicist, albeit one bursting with the ardent
drama of early romanticism. Katz’s interpretation emphasizes the kinship
of the Impromptus to the world of Schubert’s lieder, reminding the listener
of such dramatic songs as “Der Zwerg” or “Der Doppelgänger”.
To compare Katz to some well-regarded Schubertians, his Impromptus are somewhat
less lyrical than those of Maria-João
Pires, but often more heroic. András
Schiff’s recent fine fortepiano recording is softer-grained, and
with fewer flashes of virtuosity. Listen to Katz’s exhilarating conclusion
to the set at the end of D142 no. 4.
Orfeo provides rich and detailed sound for this disc, which is an exemplary
piano recording.
This engaging and thoughtful recording sits comfortably along the finest versions
of the Impromptus.
Richard Kraus
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