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THE RECORDiNGS 6 CD Sonata Deutsch Fortepiano Vienna Date 1 No. 1 157 q Palais Clam-Gallas 15 April 1996 1 No. 2 279/346 w Palais Clam-Gallas 16 April 1996 4 No. 3 459 q Baumgartner Casino 3-4 January 1993 6 No. 4 537 r Palais Clam-Gallas 21 December 1993 2 No. 5 557 r Palais Clam-Gallas 28 January 1996 3 No. 6 566/506 t Palais Clam-Gallas 14 April 1996 2 No. 7 568 r Palais Clam-Gallas 30-31 January 1996 5 No. 8 571/604/570 q Baumgartner Casino 4-5 January 1993 1 No. 9 575 q Palais Clam-Gallas 17 April 1996 2 No. 10 613/612 r Palais Clam-Gallas 29 January 1996 7 No. 11 625/505 t Zögernitz Casino 3 May 1992 9 No. 12 664 r Zögernitz Casino 5 May 1992 8 No. 13 784 e Zögernitz Casino 12-13 January 1991 3 No. 14 840 t Palais Clam-Gallas 21-22 December 1994 4 No. 15 845 e Baumgartner Casino 2-4 January 1993 5 No. 16 850 e Baumgartner Casino 5-6 January 1993 6 No. 17 894 r Palais Clam-Gallas 22 December 1993 7 No. 18 958 t Zögernitz Casino 2 May 1992 8 No. 19 959 e Zögernitz Casino 13-14 January 1991 9 No. 20 960 r Zögernitz Casino 4-5 May 1992
7 THE iNSTRUMENTS q Donath Schöff tos Vienna, c. 1810 Compass: F - f4
Page 1 and 2: FRANZ SCHUBERT the complete piano s
Page 3 and 4: CD3 1 Sonata No. 6 in E minor, D 56
Page 5: Sonata No. 19 in A major, D 959 4 I
Page 9 and 10: Conrad Graf 1118 - Vienna, c. 1825
Page 11 and 12: iod when Liszt was dazzling his aud
Page 13 and 14: three last Sonatas. Schubert’s fi
Page 15 and 16: modulation. Another surprising fact
Page 17 and 18: tions of Richard Wagner, Richard St
Page 19 and 20: different in that none of them adop
Page 21 and 22: ending triumphantly with a six four
Page 23 and 24: lacks a fourth movement is not sust
Page 25 and 26: on the Sonata in F sharp minor expl
Page 27 and 28: ister and making the left hand play
Page 29 and 30: eginning of the Sonata in E flat ma
Page 31 and 32: tinuous “garland” of quavers in
Page 33 and 34: The poetic atmosphere is not far re
Page 35 and 36: eminent Schubert scholar, O.E. Deut
Page 37 and 38: preserving his identity, Schubert r
Page 39 and 40: same dreadful disease. Schubert, fo
Page 41 and 42: for having been nominated an honour
Page 43 and 44: from the tragedy of the second move
Page 45 and 46: Sonata no. 15 A minor, opus 42, D 8
Page 47 and 48: to the theme and to the ensuing var
Page 49 and 50: around them like ribbons; finally i
Page 51 and 52: keys had a particular significance:
Page 53 and 54: the value of this sublime piece. We
Page 55 and 56: win the hearts of the musical world
Page 57 and 58:
Tarantella which may symbolize a ri
Page 59 and 60:
confronts his final moments. The me
Page 61 and 62:
dernières en 1897( !) seulement, d
Page 63 and 64:
quelques mois de plus que Schubert
Page 65 and 66:
actif plus de 150 œuvres, parmi le
Page 67 and 68:
Cette combinaison entre chromatisme
Page 69 and 70:
quième, qui a vraiment le caractè
Page 71 and 72:
supérieure que Furtwängler a comp
Page 73 and 74:
∆ Sonate n. 5 en La bémol majeur
Page 75 and 76:
autres mouvements devinrent, avec l
Page 77 and 78:
sicisme en était jusque-là dépou
Page 79 and 80:
semble-t-il, aucun commentaire. Pou
Page 81 and 82:
Le deuxième mouvement n’est pas
Page 83 and 84:
de dominante attendu, Sol majeur. P
Page 85 and 86:
Schubert, n’a pas une seule fois
Page 87 and 88:
∆ Sonate n. 12 en La majeur, opus
Page 89 and 90:
cela nous conduit immédiatement au
Page 91 and 92:
plus qu’une fois, et la même ann
Page 93 and 94:
jamais vu dans la musique : un moti
Page 95 and 96:
parole, dans une variante en mineur
Page 97 and 98:
encore, ce critique estimait, plus
Page 99 and 100:
mélancolique en une marche rapide
Page 101 and 102:
viennent un élément constitutif d
Page 103 and 104:
global est tellement différent que
Page 105 and 106:
tenant des liaisons. Une subtilité
Page 107 and 108:
tale dans l’œuvre de Schubert. D
Page 109 and 110:
loppement à travers des sixtes min
Page 111 and 112:
mélodique avec le Lied Am Meer, qu
Page 113 and 114:
ist nur allzu verständlich, daß z
Page 115 and 116:
wohl um wenige Monate älter als Sc
Page 117 and 118:
das noch frühreifere Genie, etwa g
Page 119 and 120:
Schönberg vorweg. Ebenso plötzlic
Page 121 and 122:
Moments Musicaux und den Impromptus
Page 123 and 124:
Akkord E, d, f die Oberstimme nach
Page 125 and 126:
As, sondern in Es-Dur. Damit ist Sc
Page 127 and 128:
der Musikfreunde Wien, mit dem Tite
Page 129 and 130:
gilt für die durchwegs in Oktaven-
Page 131 and 132:
Grande Sonate bezeichnet wurde. Off
Page 133 and 134:
ist ganz auf der Verarbeitung des A
Page 135 and 136:
sondern in G-Dur, also im gleichen
Page 137 and 138:
Stileigenheiten vorweg: im Schlußs
Page 139 and 140:
nischer Beleuchtung durchführt. Am
Page 141 and 142:
ganz im Gegenteil: Es ist die forma
Page 143 and 144:
lieb. Denn nicht nur der 1.Satz, so
Page 145 and 146:
eine Mendelssohn-Vorausahnung wirkt
Page 147 and 148:
ein Auseinanderklaffen, ein Zerrei
Page 149 and 150:
ständiger Steigerung über B, Cis
Page 151 and 152:
∆ Sonate Nr. 16, D-Dur, opus 53,
Page 153 and 154:
einem See oder zu einem Gasthof, wo
Page 155 and 156:
a mit einer köstlichen Erweiterung
Page 157 and 158:
Die letzten drei klaviersonaten Zwi
Page 159 and 160:
diesem Hoch und Tief ist der Rahmen
Page 161 and 162:
Augenblick ist zu erwähnen: Ganz a
Page 164 and 165:
Prefazione alle sonate per pianofor
Page 166 and 167:
Debussy e delle sonorità che sono
Page 168 and 169:
finezza né quel modo supremo di gi
Page 170 and 171:
diversa: invece dell’invocazione
Page 172 and 173:
che tranquillizza il cuore e permet
Page 174 and 175:
trova il nocciolo di tutta la sua o
Page 176 and 177:
L’ultimo movimento, un Rondò di
Page 178 and 179:
alla scrittura musicale e insieme a
Page 180 and 181:
menzionare due momenti deliziosi in
Page 182 and 183:
Deutsch sotto il nome «Allegro e S
Page 184 and 185:
il secondo movimento non è meno is
Page 186 and 187:
si conclude l’esposizione con due
Page 188 and 189:
“modulazione illimitata” nelle
Page 190 and 191:
tabili che terminano sulla tonica,
Page 192 and 193:
cadono su un paesaggio primaverile
Page 194 and 195:
lei; la Sonata in la minore va anch
Page 196 and 197:
sol maggiore secondo l’uso - fa d
Page 198 and 199:
il “miracolo” di questa modulaz
Page 200 and 201:
qui un procedimento caratteristico
Page 202 and 203:
ancora una volta, i due temi si opp
Page 204 and 205:
lago, o ancora in qualche locanda d
Page 206 and 207:
il secondo movimento delle sue sona
Page 208 and 209:
tardi dalla mano del maestro. Final
Page 210 and 211:
contenutistico di tutta la Sonata -
Page 212 and 213:
netta somiglianza con uno dei più
Page 214 and 215:
214 Paul Badura-Skoda in the Brahms
Page 216:
216 Listen to samples from the new
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