Schubert | Piano sonata A major D 959 - Inon Barnatan

[maestrob]

Apr 30, 2022 #schubert #classicalmusic #piano
Piano sonata A major D 959 by Franz Schubert performed by Inon Barnatan
MUSIK MERAN
14.11.2021 - Kursaal Meran

00:00 Allegro
16:18 Andantino
24:28 Scherzo. Allegro vivace con Trio
29:18 Rondò. Allegretto

https://www.youtube.com/watch?v=loUF03a1VXM

[Rach3]

Many thanks.

D.894 and D.959 are my 2 fav Schubert sonatas ( the fav is whichever one I heard last ), here a gripping reading, extraordinary , which I say with my studio recordings of young Badura-Skoda and Schnabel in my ears.
Schubert ,genius obviously, and frankly if I get just one, I’d want 959 over Op.111.

[Belle]

I love this Schubert sonata too, especially the final movement which is like an Austrian anthem. But I wouldn't take anything over Beethoven. Imagine having to choose! Absolutely no way.

[barney]

I think D960, the B flat major, is my favourite. But I have one of the finest recitals I've ever heard still ringing in my ears: Paul Lewis playing D894 (as a free pre-concert bonus), then D958, 959 and 960 in the Melbourne Recital Centre, a truly stunning auditorium.

Here are the first two and last paras of The Age review (not by me).

Paul Lewis’s captivating journey through Schubert’s piano music reached its apogee with this profoundly moving and insightful presentation of the composer’s last three solo sonatas. Experiences such as these are so extraordinary because the artist stands awed by the music, knowing there is always more to discover in these unique, multilayered masterpieces.

All of Lewis’s customary strengths were displayed in abundance: a strong sense of musical architecture, a seemingly infinite range of colour and dynamics, not to mention an acute awareness of the importance of the music’s inner voices. These admirable traits undergird his rare ability to make the music a living, multidimensional entity.

And the last: This memorable, revelatory evening reminded the at-capacity audience that in this generation, Schubert would be hard-pressed to have a more eloquent advocate than Paul Lewis.

[Lance]

No question, the D959 and D960 would be my two favourite sonatas of Schubert - right alongside Beethoven's Op. 111. Good thing we don't have to choose only one! As for Paul Lewis, I am embarrassed to say that he is the one pianist I have yet to acquire a recording. I hear nothing but good, but perhaps it is my addictive personality that keeps me away other than from what I hear on the radio or in someone else's collection. Speaking of D959, one of the most compelling recordings I've heard of that sonata was by Rudolf Serkin (Sony), who brings the sound of Schubert's piano directly into the 20th century, but, emotionally, it is one of the finest I have heard making a deep impression from the outset. Kind of like Clara Haskil in her 1951 recording of D960 [Philips/Decca] - never heard anyone play it like she did. But then we all have our preferences ... thus making it all the more interesting.

[Belle]

I think D960, the B flat major, is my favourite. But I have one of the finest recitals I've ever heard still ringing in my ears: Paul Lewis playing D894 (as a free pre-concert bonus), then D958, 959 and 960 in the Melbourne Recital Centre, a truly stunning auditorium.

Here are the first two and last paras of The Age review (not by me).

Paul Lewis’s captivating journey through Schubert’s piano music reached its apogee with this profoundly moving and insightful presentation of the composer’s last three solo sonatas. Experiences such as these are so extraordinary because the artist stands awed by the music, knowing there is always more to discover in these unique, multilayered masterpieces.

All of Lewis’s customary strengths were displayed in abundance: a strong sense of musical architecture, a seemingly infinite range of colour and dynamics, not to mention an acute awareness of the importance of the music’s inner voices. These admirable traits undergird his rare ability to make the music a living, multidimensional entity.

And the last: This memorable, revelatory evening reminded the at-capacity audience that in this generation, Schubert would be hard-pressed to have a more eloquent advocate than Paul Lewis.

A beautiful and authoritative review. You were extremely fortunate to have had this experience, Barney.

So few pianists do pay attention those 'inner voices', I find. But I could readily identify two who do: Levit and Hough. There are others. I speak only about the younger generations here.

[barney]

Hough would certainly thank you for numbering him among the younger generations. He's 62. But my friend Tony Way didn't mean to imply that Lewis is unique, only that he is sublime.

[Belle]

Hough would certainly thank you for numbering him among the younger generations. He's 62. But my friend Tony Way didn't mean to imply that Lewis is unique, only that he is sublime.

Well, even Kissin is getting on in years now and I regarded him as 'younger' generation - than Brendel, Kovacevich, Argerich, Barenboim, Pollini etc. That's what I meant by 'younger' generation. I didn't mean the current crop of competition winners.

The only 'sublime' pianist I've seen in a recital was Stephen Kovacevich back in 2009. Nearly 15 years ago - and I've been to quite a few recitals over the years. He would have been 69 back then. I've always loved him - since 1972 when he visited Sydney and practiced in the basement of the ABC music department (the library) in King's Cross. He was Bishop-Kovacevich then but when he divorced Ms Bishop he dropped the 'hyphenated' name. (Werner Baer was the librarian and he liked my friend with the big glockenspiels, so he let us both listen to the pianist going through his paces during our lunch-hour - from a safe distance.)

[barney]

Another pianist I esteem very highly. Great Beethovenian. Must have been a marvellous experience.