Top reviews Most recent Top reviews. Top reviews from United Kingdom. There was a problem filtering reviews right now. Please try again later. Verified Purchase. There's ample warmth, lyricism and good dynamic control. Both his phrasing and articulation are totally appropriate for this early romantic repertoire. Recorded in the! Nonetheless, a great reissue! Why are these works so great?
They are the ultimate in romantic music. The themes remind me of partially lost childhood recollections, D.894 And In C. They are technically complex. Some movements are very long and involving. Others are short and lyrical. I think Brendel's interpretation of 2. Andante - Schubert* - Alfred Brendel - Sonatas In G Andantino in Sonata D is quite sensational and I thought better than Mitsuko Uchida's interpretation.
On further listening to the latter I am not quite so sure. As for all the rest on the CD, I believe Mitsuko Uchida has a rather special interpretation of Schubert's sonatas and somewhat more insightful and less mechanical than Brendel's and therefore in my subjective opinion, better. Classic Philips classical music double disc, worth collecting, great value. One person found this helpful. Excellent value. Music CD as described. Rally enjoy this.
A beautiful recording that I love listening to. It LP) competitively priced and 2. Andante - Schubert* - Alfred Brendel - Sonatas In G close to the download price, so I went for the real CDs. Beethoven, from his middle-period works on, sometimes ignored this convention. It is intriguing to speculate on how Beethoven might have led back to the F minor beginning; what matters is that he did not see fit to do so. He was evidently able to rise above the pressure of convention where the music called for it.
Another argument put forward by the exponents of the B flat sonata repeat emphasizes the amazing newness of the transitional bars; they add something to the piece that would otherwise remain unsaid and, supposedly, change the perception of its character. Which elements in D.840 (Vinyl course of the B flat sonata would justify the emergence of the transitional bars in question? Where are they announced? By contrast, the transitional bars of the B flat sonata upset the magnificent coherence of his movement, whose motivic material seems quite unconnected to the new syncopated, jerky rhythm.
Is the material or atmosphere of the transition taken up anywhere in the later movements? Or because I want my public to choke.
Or starve, deprived of repeats. But they illuminate one another, and they should be called a family of pieces, thanks to their extensive motivic give and take to be documented in my next book. Under no circumstancees, and in D.894 And In C program combination, could I agree to play the disputed repeats. Professor Frisch does not present arguments for the inclusion of the repeats in D. The only one of my arguments on which Professor Frisch dwells is, to me, the least important.
It is not primarily because I like to play these sonatas in succession that I omit their first-movement repeats, although I maintain that, from the angle of the performer, this remains a splendid reason to avoid them.
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