Schubert: Piano Sonatas No 2, 3, 6 / Gottlieb Wallisch
The second volume in Naxos' survey of Schubert's 12 piano sonatas surviving in fragmentary form offers three works whose harmonic adventurousness and memorable melodic content will appeal to anyone who loves this composer. More often than not, the music provides interesting contexts in relation to more familiar works. For example, I can't help but notice how the C major D. 279 sonata's bold first-movement opening theme and declamatory trills foreshadow the Wanderer Fantasy's finale. And listening to the E minor D. 566/506's Allegretto, with its songful lyricism and rolling left-hand accompaniment, I wonder if Schubert knew the finale of Beethoven's Op. 90 sonata, one of the latter composer's most "Schubertian" utterances! As before, pianist Gottlieb Wallisch turns in affectionate, idiomatic, and warmly phrased performances that are hard to beat. His energy often surpasses Wilhelm Kempff's heavier gait while steering clear of András Schiff's occasional mannerisms (such as breaking the hands in the E major D. 459's first Scherzo). Also as before, Wallisch provides informative, well-written booklet notes. A lovely disc.--Jed Distler, ClassicsToday.com
$19.99
Schubert: Piano Sonatas No 2, 3, 6 / Gottlieb Wallisch—
$19.99
Description
The second volume in Naxos' survey of Schubert's 12 piano sonatas surviving in fragmentary form offers three works whose harmonic adventurousness and memorable melodic content will appeal to anyone who loves this composer. More often than not, the music provides interesting contexts in relation to more familiar works. For example, I can't help but notice how the C major D. 279 sonata's bold first-movement opening theme and declamatory trills foreshadow the Wanderer Fantasy's finale. And listening to the E minor D. 566/506's Allegretto, with its songful lyricism and rolling left-hand accompaniment, I wonder if Schubert knew the finale of Beethoven's Op. 90 sonata, one of the latter composer's most "Schubertian" utterances! As before, pianist Gottlieb Wallisch turns in affectionate, idiomatic, and warmly phrased performances that are hard to beat. His energy often surpasses Wilhelm Kempff's heavier gait while steering clear of András Schiff's occasional mannerisms (such as breaking the hands in the E major D. 459's first Scherzo). Also as before, Wallisch provides informative, well-written booklet notes. A lovely disc.--Jed Distler, ClassicsToday.com
