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schubert, franz  -  Late piano sonatas / leif ove andsnes

  • Format : CD x 2

  • Etat général : original neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : EMI 16448
  • Pressage : UPC/EAN: 5099951644826 - EU
  • Année : 2008
  • Commentaire : Schubert: Late Piano Sonatas D 850, 958, 959 & 960 / Andsnes Release Date: 02/ ... Voir plus bas

  • Quantité disponible : 1
Commentaire du vendeur :
Schubert: Late Piano Sonatas D 850, 958, 959 & 960 / Andsnes

Release Date: 02/26/2008
Label: EMI Classics Catalog #: 16448 Spars Code: DDD
Composer: Franz Schubert
Performer: Leif Ove Andsnes
Number of Discs: 2
Recorded in: Stereo
Length: 2 Hours 28 Mins.

Works on This Recording

1. Sonata for Piano in C minor, D 958 by Franz Schubert
Performer: Leif Ove Andsnes (Piano)
Period: Romantic
Written: 1828; Vienna, Austria
Date of Recording: 04/2006
Venue: Potton Hall, Suffolk, England
Length: 29 Minutes 39 Secs.
2. Sonata for Piano in A major, D 959 by Franz Schubert
Performer: Leif Ove Andsnes (Piano)
Period: Romantic
Written: 1828; Vienna, Austria
Date of Recording: 08/2001
Venue: Lyndhurst Hall, Air Studios, London
Length: 38 Minutes 44 Secs.
3. Sonata for Piano in B flat major, D 960 by Franz Schubert
Performer: Leif Ove Andsnes (Piano)
Period: Romantic
Written: 1828; Vienna, Austria
Date of Recording: 09/2004
Venue: Potton Hall, Suffolk, England
Length: 42 Minutes 29 Secs.
4. Sonata for Piano in D major, D 850/Op. 53 "Gasteiner" by Franz Schubert
Performer: Leif Ove Andsnes (Piano)
Period: Romantic
Written: 1825; Vienna, Austria
Date of Recording: 10/2002
Venue: EMI Abbey Road Studio No. 1, London
Length: 37 Minutes 16 Secs.

Notes and Editorial Reviews

For the most part, it's rare that I find so little to disagree with. Everything seems so right and in its place, yet a lot of thought must have gone into making it sound so. Andsnes knows, for example, that the first movement of the D major has to spin along at a fair clip to make its point, whereas the similar movements in the last three sonatas need to build up gradually. All these monumental first movements have their repeats – but there's a beat missing in the lead-back in the B flat, probably an editing mistake. Second subjects flow at the same tempo as first subjects, there's no self-indulgent rubato, slow movements are broad yet not stagnant.

And yet, at the risk of seeming ungrateful for so much caring artistry – and I mean artistry, not just playing – I began to wonder. Is it a mite too calm and collected? Could not the music take just a little more weight of expression? I felt, just slightly, the lack of an awkward Mr. Brendel to pull it around and do things to it, but maybe, also, to find sudden illumination, unexpected depths. Or maybe, even, the lack of stubborn Mr. Richter to find a granitic, uncompromising tension in it. I felt all this particularly in the C minor – couldn't that final Tarantella sell its soul to the Devil just a little more?

My other slight worry was that the A major was rather different from the others. It has more immediacy, zest, drama. But it also scampers away in places. Some might prefer this. I found it pointed up the advantages of the other performances.

This is one of those cases where “blind listening” might induce a critic to diagnose two pianists at work. I recently commented, somewhat ironically, on a similar case with Monique Haas's Ravel. As those recordings are about forty years old, a tape could conceivably have got mislabelled over the years. In the present case it's obviously ridiculous to suppose anything of the kind, with dates and venues clearly stated and a pianist in full career. What it does show is, firstly, the way a different sound picture can alter our perception of a performance or performer. Evidently, Lyndhurst Hall Air Studios produce a more upfront, almost aggressive, sound compared with Abbey Road and Potton Hall – which do not sound particularly different.

It also shows how a young artist can develop in a short time, since the A major was set down first. The inference is that Andsnes himself thought it a bit too impetuous or impulsive and reacted accordingly. What we have, then, is a record of his evolving Schubert, a process which will doubtless continue all his life. I daresay, in ten years' time he will have found how to recover the drama and immediacy of that earlier A major without losing the more mature structural control of the other performances.

In the meantime, this is nevertheless fully recommendable to those who don't want every “i” double-dotted and every “t” double-crossed à la Brendel. I hope plenty more Schubert is planned.

-- Christopher Howell, MusicWeb International


AllMusic Review by James Leonard [-]
Leif Ove Andsnes has made many excellent recordings for Virgin and EMI over the long years of his association with those two labels. One thinks of his harrowing Janácek, his exhilarating Grieg, his ravishing Chopin, and his staggering Nielsen discs. Unfortunately, this two-disc set coupling Schubert's last four piano sonatas is not one of Andsnes' better efforts. It's not that his technique isn't as impressive as before. In the stormiest pages of the C minor Sonata's opening Allegro and the thorniest pages of the A major Sonata's central Andantino, Andsnes articulates every line, harmony, and rhythm with the utmost clarity and precision. It's that Andsnes seems out of touch with the spirit behind the music. Where one wants lyrical rapture in the A major Sonata's closing Allegretto, dramatic tension in the B flat major Sonata's opening Molto moderato, and intimacy in the same sonata's central Andante sostenuto, Andsnes seems stuck on the surface of the music, turning in perfectly balanced but ultimately uninvolving performances. Recorded in three different places at four different times between 2001 and 2006, EMI's digital sound here is nevertheless consistently clear, round, and deep.


Als vor sieben Jahren der norwegische Pianist Leif Ove Andsnes und der englische Tenor Ian Bostridge für ein großes Schubert-Projekt zusammenfanden, war die Begeisterung groß, denn Lieder und Klavierwerke Schuberts verbanden sich zu einer Einheit: Vieles in seinen Lyrikvertonungen schien in den Sonaten auf instrumentaler Basis gespiegelt und kontrastiert. Über Jahre zog sich das Projekt der beiden Künstler hin, das im vergangenen Jahr vollendet wurde und längst Referenzstatus besitzt (und gerade für einen Grammy nominiert wurde). Nun erscheinen vier Sonaten als gesonderte Veröffentlichung.



FonoForum 06 / 07 (zu D. 958): »Andsnes spielt farbig und anschlagssensibel. Der Beginn verrät Beethoven, das forsch genommene Finale beweist, dass es mit einem bloß schön-gesunden Ton bei dieser Musik nicht getan ist. Immer wieder setzt Andsnes, auffallend pedalarm, bedrohliche Abstürze in Szene, wenn er dem Bass kerniges Gewicht verleiht, um gleich darauf den Diskant unheilvoll schimmern zu lassen.«


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