The big G Major Sonata as resumierende caesura as a prelude to Schubert's last
Creative phase, characterizes a varied and contrasting introductory sentence
(Molto moderato cantabile and) high complexity and dynamism, which starts lyrical
and quite fantastic, namely dynamically expanded (fff) and dramatized continue
runs, but by no means as a titled in mind the publisher fantasy,
especially the following sentences Andante, Minuet, Allegro does not ignore, but in
shall be read in reasonable relation and play.
If you listen to, pars pro toto, the Allegretto with Fray's pianistic blameless nimble, lightweight
Stop, you will notice at the outset that do not articulate prelude figure-break, the
not accentuated repetition (as a formal structure) that his molto legato as
is casually inserted, functionless moving in a nice uniform and little
moving sonic flow. Parlando moderato.
He has certainly not written for the big solo performance, often private and
practiced at the inn, but he has certainly abstract in great pianistic
Form and shape (Beethoven) thought and formulated and recorded.
Fray indicated then on much, but plays hardly uniquely expressive.
If you only Brendel (live) or alternatively listen to a Staier compared, of the
Allegretto differentiated extremely rhythmically and sonically superior represents, and
an Alain Planes, French trained, they all know more read
and reflective display, from Kempff or tart Stadtfeld, as a young
Antipode Fray, not to mention.
The music editor Hans-Heinrich Raab (NDR Prism Music), among others, the
Published Classic Viennese sonata form compared, assessed once Fray's first
Schubert Album (Moments Musicaux and Impromptus) as the game of a narcissistic
Pianist, which in its performance, the composition is of secondary importance -
Brendel or Kempff offer comparatively a lesson of what is meant.
Schubert's last great duet in F minor Fantasy, practically a four-movement late Sonata
(Allegro molto moderato-Largo-Allegro vivace theme con delicatezza) with final
fugal basic theme, Fray and his old teacher Jaques Rouvier offer equally sound
really sensitive and pianistic perfectly fluent beautiful, so as fantasy, but without a
impressive, fantastic shape.
Comparisons with Perahia-Lupu (a classic) or with the forscheren, however most
meticulously articulating Richter-Britten (live), and Eschenbach-Frantz, show the formal
Size and adequate musical expression that is lacking this new recording, because
Here the Big Schubert is mostly played small euphemistically.
Sodenn, a sonically unfortunately somewhat diffuse soft, pianistic delightful piano plate
sounds like Schubert, but his musical potential as a whole only inadequate
expresses.
Brendel Plays Schubert
Impromptus Op.142 / Sonata Op.78Fantasie D940 / Sonata KV448
