ALFRED BRENDEL SPIELT SCHUBERT - SONATE G-DUR D 894
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- Опубликовано: 17 ноя 2016
- Franz Schubert [1797-1828]
Klaviersonate G-Dur D 894 op.78
I. Molto moderato e cantabile
II. Andante
III. Menuetto: Allegro moderato
IV. Allegretto
Alfred Brendel, Klavier
Als Fantasie, Andante, Menuetto und Allegretto, als Folge einzelner Stücke also, wurde die 1826 entstandene G-Dur Sonate 1827 veröffentlicht. Schubert hat das Werk jedoch als Sonate komponiert und der Verleger trug dem insoweit Rechnung, dass er es auf dem Innentitel als 'Fantasie oder Sonate' bezeichnete.
Die Fantasie ist, im Aufbau der Sätze und in ihren Beziehungen untereinander, eine wirkliche Sonate, und zwar eine der schönsten und vollkommensten, die dem Komponisten gelungen sind.
Wenn sich dennoch die Bezeichnung 'Fantasie' lange gehalten hat, so vielleicht darum, weil der erste Satz kein übliches Sonatenallegro ist, sondern ein Molto moderato e cantabile überschriebenes, weiträumiges Musikstück von einer lyrischen Stimmungseinheit, die die thematischen Kontrastwirkungen der Sonatenform kaum ins Bewußtsein des Hörers eintreten lässt.
Werner Oehlmann
by berlinzerberus 
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The way Alfred Brendel plays this music is a never ending story. He is in it, and above it, and under it, but most of the time in it. You can talk about commitment, but the truth is: he is this music.
That such a work of art could have been ignored for so long is difficult to conceive. There is an inherent beauty in all Schubert's music but in his later sonatas and his string quartets and quintets he achieves a depth and a passion more attributed to Beethoven . Just as Beethoven was often mischaracterized as lacking serenity and melody (listen to the beauty of Sonata 27 2nd movement or the variations in the last movement of opus109),Schubert was considered a lighthearted song composer.
There is tragedy and deep feeling in this Music and one has to understand the 2 musical worlds Schubert lived in.One was indeed the light hearted songs and pieces he wrote to be played at the Schubertiads and the other was the more private world in which he bared his soul to ease the sorrow of his impending doom.
The waltz in the first movement of this piece has an eerie quality almost as if was a dance for ghosts .Perhaps it was in itself a derision of Viennese culture of which Schubert criticized as being devoid of warmth and compassion for the average man.
Eerie perhaps, I like the ghosts analogy. Melancholy, definitely,as Schubert reflects on what might have been..
Correct my friend. Thanks for you insights on this excellent piece
So true! I find myself drawn to Schubert even more often than Beethoven.
Schubert seems, composed, what he heared in Vienna of the early 19. Center. In the 4. Movement you can hear the horses and rattling of the carriage when he, may be, came home from Nussdorf, Grinzing or the like, drinking wine there. It it this closeness to the surrounding nature, which gives his music such depth.
@@maxfochtmann9576 2
I. Molto moderato e cantabile: 0:12
II. Andante: 12:43
III. Menuetto: Allegro moderato: 22:54
IV. Allegretto: 27:45
his sensitivity and fine touching
what a misterious drammatic piece
Great rendition! One of my preferred. Radu Lupu's is my favorite.
From 3:40 such contrast and subtlety! The devil is in the details and Brendel truly excels at this.
Love this interpretation and learning the piece myself. Radu Lupu and Paul Lewis are my favorites.
Good luck!
This piece is NOT easy to play!
and waht about Richter?
@@joangarcia-alsina2932 Arrau, Kempff, etc.
magnifico
28:57 I absolutely love this, it's like a dance
Marvellous.
The most exquisite thirty minutes on earth.
Intelligent and musical playing
Yes, the last movement is especially great!
paulprocopolis â
EEN BELEVENIS!
And let's not mention the interplay between high, bass notes and the ether like atmosphere it creates. How could Brahms have not been inspired by this?
So muss Engelmusik klingen.
Dann aber mit Harfe.
What year is the recording?
1976/77 Radio Bremen, Germany
berlinzerberus woah... almost 40 years ago,..... this was composed a mere 200 years or so ago... makes me think, our time will come too...
brendel is schubert when playing
Well said. You can see the streets of Vienna of the early 19. Cent., can hear the rattling of horses and carriages on the pavement.
27:40 4th
Brendel ...
This is beautiful, but I find it a shame that Brendel never performed on a period instrument. He could have done what Schiff is doing now.
Demus and Badura-Skoda did!
@@Piflaser Indeed, and I have most of their recordings.
As usual by Brendel , very tasteful , refined , smart , sensitive , elegant and emotionnal , but so terribly boring .
And if you don't understand what I am speaking about , just try for example Erdmann in the same work , you'll see .
I partly agree, however the last movement is very nice!
Indeed, Brendel is a pedantic bloodless bore who sounds so tinny and timid.
@@Ren-ITe He was Austrian like Schubert, and thus probably better qualified than you to interpret another Austrian artist! Nothing personal.
"Quailfied" because he is "Austrian" ?...who cares...wasn't Adolf an Austrian too...?
"Being born in a stable doesn't make you a horse" is an old proverb. Probably not an Austrian one though.
You can have your insights about Schubert and music, but I think it's kinda immature to call Brendel's vision boring in public. It's something you simply shouldn't do. I don't find this near to boring, rather a "lengthy" approach in development, without so many expressive liberties, which in itself becomes somehow interesting to a lot of people. "Boring" is a very pejorative word for Brendel's vision on this piece and all his years of analysis and dedication to Schubert's work.
Boring like hell... not exactly Lady Gaga