Andr s Schiff's Schubert sonata cycle was recorded during the early 1990s and won much critical acclaim. This was a reputation confirmed and further enhanced by his many concerts which included Schubert pieces. This 2... more »-CD set contains the final trilogy of Piano Sonatas by Schubert and a group of pieces which is often set next to the last three sonatas by Beethoven as representing some of the composers' final and greatest achievements. By way of a major bonus the first set of Impromptus, D899 is also included. As well as a useful catalogue item and strong addition to the DOUBLE DECCA catalogue, this set also acts as a superb reminder of Andras Schiff's wonderful Schubert interpretations as he approaches his 50th birthday on 21st December 2003.« less
Andr s Schiff's Schubert sonata cycle was recorded during the early 1990s and won much critical acclaim. This was a reputation confirmed and further enhanced by his many concerts which included Schubert pieces. This 2-CD set contains the final trilogy of Piano Sonatas by Schubert and a group of pieces which is often set next to the last three sonatas by Beethoven as representing some of the composers' final and greatest achievements. By way of a major bonus the first set of Impromptus, D899 is also included. As well as a useful catalogue item and strong addition to the DOUBLE DECCA catalogue, this set also acts as a superb reminder of Andras Schiff's wonderful Schubert interpretations as he approaches his 50th birthday on 21st December 2003.
CD Reviews
THE BEST [LATE] SCHUBERT SONATAS...
Sébastien Melmoth | Hôtel d'Alsace, PARIS | 09/15/2005
(5 out of 5 stars)
"The recordings here were culled from Schiff's great cycle of the 1990s. Critics were unsure of themselves when the set appeared, because it was so utterly remarkable.
Firstly, Schiff went to the national library in Vienna to research Schubert's original manuscripts: this is significant because even the finest published editions contain mistakes in expressive orthography. Schiff explains that many of Schubert's manual notations are so microscopic that they have been easily mistaken. Through his vital studies, Schiff brings us an unparalleled new reading and realization.
Schiff takes all repeats, shunning to cut anything: he sees this as imperative to Schubert's musical architechtonics--and he is right in doing so.
Thirdly, Schiff purposefully chose to perform on a quintessentially classic Viennese piano: a Bosendorfer Grand Salle. This enormous grand piano has a stronger key action than the Steinway; moreover, the Bosendorfer exibits a remarkably soft, gentle, yet clear pastel tone.
Lastly, Schiff also recorded some significant individual piano pieces which are thought to be movements from "unfinished" sonatas. These are real gems.
Unfortunately, Schiff's complete masterwork recordings were quickly allowed to go out of print by accountants at Decca: an huge loss for art. So, this culled set is all that is available. Get it while you can!
P.S.: The Impromptus are given the same treatment by Schiff: no artist has given them a better performance."
Sublime.
Robert Bezimienny | Sydney, NSW Australia | 09/29/2006
(5 out of 5 stars)
"Andras Schiff's Schubert cycle is one of the most beautiful and intelligent ever recorded. Positive opinions are virtually universal amongst the critics. Shamefully, the complete cycle is out of print, but these last three sonatas nevertheless represent an absolute peak in the cycle.
*
Schiff researched the scores extensively, and performed the cycle live, during the period of the recordings - I was lucky enough to attend one of these concerts, and his wonderful performance revealed the reverence in which he held the music. The concert, and the discs, share a sense of intimacy and mystery - on reflection, the technical mastery displayed is faultless, but while listening this thought never intrudes, as it is the emotional journey that is paramount. The sound is rich and deeply coloured, and this is partly through Schiff's deliberate use of a Bosendorfer piano - the engineering of the recording is close to ideal, with a well judged balance between clarity and hall ambience.
*
Of the other sonatas in the series, D.894 is given a very special interpretation - this is Volume 3 of the complete series, and is available second hand.
*
This is one of my very favourite recordings, in any genre. Of other interpretations, I have heard Mitsuko Uchida, Brendel both young and old, Schnabel, Imogen Cooper, Murray Perahia, and Richter - while all have their own felicities, I keep returning to the Schiff cycle. Waves of sadness, elation, and wonder reside within this music - an experience not to be missed."
(almost) Destroyed by Decca
Scaffa | Sweden | 01/28/2009
(1 out of 5 stars)
"I like András Schiff. I think he is a great pianist. One of the best. But it doesn't matter. I cannot listen to these recordings. And it's not because of his pianism, but because of the utterly strange audio mixing done by Decca.
Most recording companies mix the audio of solo piano music so that you have the bass range in one channel, the treble range in the other channel and the midrange somewhere in between. Often the treble is in the left channel and the bass in the right. However, sometimes (like András Schiff's recently concluded Beethoven sonata cycle for ECM) you have it the other way around: the bass in the left, and the treble in the right, just as a pianist would hear the music when he or she plays it.
Now, Decca does neither of these things (based on listening to the following recordings, in addition to this one: Thibaudet's Ravel and Debussy Piano Works, and Rogé's Ravel and Debussy Piano Works - all of these ten discs are stereo recordings). What Decca does, I assume, is that they attempt to recreate the sound as you would hear it as a member of the audience in a concert hall - that is: the bass, the treble and the midrange are concentrated in a point in or near the middle, which gives the impression of listening to something very akin to MONO.
I find it interesting to notice that when Schiff left Decca for ECM, suddenly there was none of the Decca mixing with all the different ranges jumbled together seemingly without any thought behind it. No, the discs that Schiff has recorded for ECM and which I have listened to (the Goldberg variations, Schiff in Concert playing Schumann, and all the volumes of his Beethoven sonatas, plus his Schubert Wanderer Fantasy) - in all these cases the mix is like this: you have the bass range clearly in the left channel and the treble range clearly in the right channel, and the midrange in between.
I will never again by a record produced by Decca.
EDIT:
I have to revise my statement: The horrible thing is that András Schiff plays these sonatas so outstandingly well that I have to learn to listen to them in this Decca-MONO monstrosity of a sound mix. I suppose you could say that sometimes there is some kind of vertical stereo going on here.
I wish András Schiff would record the Schubert sonatas for ECM. Wouldn't that be something to look forward to?
"
As I have commented previously, there are not precisely a crowd of pianists around the world gifted of innate power to express with meridian transparency, these incorporeal bars, deeply evocative and revealing of dreamy side of the Romantic vein, I mean, the introspective universe of an artistic expression. For better or worst when Schubert achieved his plenitude as composer, the piano as vehicle of supreme inspiration, was in retreat, Mozart and Beethoven grandness on one hand, and the puniness in the most of musical circles simply ignored the significance of this portentous genius and simply overlooked him and turned their whole attention around the excel and sheer poetry of Chopin and the febrile universe of Robert Schumann; both composers personified eloquently the visceral tragedy implicit in the visceral Romanticism, and so there was no time to get close and amaze around these immortal and overwhelming compositions loaded of febrile introspection and sublime spirituality.
On the other hand the progressive decline of Vienna - in what musical taste concerns - may be carved in relief since 1820; Rossini and Weber has displaced the old oak named Beethoven, with the arrival and triumph of the French Revolution, the musical taste has democratized itself, the great masses preferred by far, a comic theatrical representation instead to get into the last sonatas or string quartets of Bonn's beloved son, and even less to appreciate the poetic and evocative qualities of the Romantic mood, because of the fact the process of trivialization had blossomed in such grade that had become part of the good costumes.
In this sense the natural audiences kept for the future memories the notion that Schubert was by definition a fabulous composer of marches, dances and lieder, and ignoring completely the ominous aspect of his best compositions.
Fortunately, the wheel has come full circle and Schubert has achieved place among the crème of the crème composers around the world.
And Andras Schiff has contributed notably with his stubbornness to diffuse the art and importance of Schubert for great overseas audiences.
Track Listings (4) - Disc #1