SCHUBERT: PIANO SONATAS D575, D894, D959, D960 Alfred Brendel – piano Philips 456 573-2 2 CDs £££ Sonatas in G (D894), B (D575), A (D959), B-flat (D960): Live recording; TPT: 2 17’43”

Alfred Brendel is firmly on home territory in this new release of live performances of four Schubert sonatas, although surprisingly the B major sonata (D575) appears here in his discography for the first time.

	‘…the quality is outstanding’

I cannot think of another pianist (living or dead) who captures the spirit and essence of Schubert in the way that Brendel does; the sonatas are perhaps unique in the repertoire in the way that they combine a sweeping breadth of architecture with the most personal intimacy and delicacy. This is what Brendel understands so well.

As an example, take the opening movement of the G major sonata (D894), the famous Molto moderato e cantabile, which has had generations of pianists grappling for the right tempo. Brendel approaches it with the utmost simplicity and in a tempo that flows. Yet this doesn’t mean that the result is small-scale; the grandeur of the larger structure still comes across. No need here for a practically comatose lentissimo à la Richter to give the music its depth and dignity.

The same could be said about the B-flat major sonata (D960), which opens with another Molto moderato. One often hears the late sonatas described as ‘monumental’, ‘profound’ and similar adjectives evoking gravitas, and they are deeply moving works of enormous stature. However, Brendel takes that fact as read and goes on to explore the music’s delicacy and quirky humour (and Brendel’s humour is nothing if not quirky). It takes a master to be able to take his listeners on a profound musical journey and yet still point out the pretty scenery along the way.

As you would expect, the quality of the playing is outstanding, with Brendel’s trademarks – the exquisite quality of sound, the impeccable clarity – very much in evidence. He doesn’t show any signs of ageing as he approaches 70!

...this two-CD set is an absolute must for collectors of both Brendel and Schubert. Brendel is an example to us all in his quest for the truth and beauty in the music, and in the sincerity of his playing.

My only gripe relates to Brendel’s use of the pedal and this only where Schubert has marked a staccato within a forte dynamic, as in the opening of the A major sonata (D959). For some reason Brendel shies away from too harsh a staccato, preferring instead to soften it with pedal. Personally, I rather like the tougher aspect to the movement that a real staccato provides. However, one can always be sure that any interpretative decision that Brendel has reached has been arrived at after the most thorough research and reflection.

All in all, this two-CD set is an absolute must for collectors of both Brendel and Schubert. Brendel is an example to us all in his quest for the truth and beauty in the music, and in the sincerity of his playing.

Paul Janes