The new studio album from Arcadi Volodos captures the master pianist’s finely honed interpretation of Schubert’s late Piano Sonata in A major D 959, as well as three of his very rarely recorded minuets: D 334, D 335 und D 600. After spending years performing and refining his interpretation of Schubert’s penultimate piano sonata, Volodos has now committed the work to “tape” for posterity.

For him, a recording is a personal testament to a creative period’s culmination – this explains the relative rarity of a new Volodos recordings. Volodos personally selected the three rare minuets to accompany the piano sonata, additionally choosing to pair the D 600 Minuet with the D 610 Trio. Volodos brings these extremely rarely recorded works to life with his unmistakable tonal brilliance and stylistic elegance. Released 17 years ago, Volodos’s first – and, until now, only – recording of Schubert’s works, coupling the Sonatas in E major D 157 and G major D 894, garnered much praise. “Here is irrefutable proof of Arcadi Volodos’s genius and versatility,” wrote Gramophone magazine at the time. The German specialist magazine Fono Forum observed that “Volodos makes the piano sing like few other pianists today”.

In the intervening years, Volodos’s relationship to the works of Schubert has only deepened. Reviewing his performance at this year’s Salzburg Festival, Der Standard wrote, “When Arcadi Volodos plays Schubert, time stands still.” So, too, this recording offers a snapshot of a master pianist at the height of his interpretative powers.

-----

REVIEWS:

Every phrase is so exquisitely turned, so perfectly graded in its nuances, so ideally blended – harmonically, melodically and in relation to what comes before and after – that it could be placed on exhibit for all to wonder at. Like all the great virtuosos, he knows how to bring spaciousness to the most technically demanding passages and inner life to the simplest.

– Gramophone

When you witness the palpable stillness Volodos conjures from the opening of the Andante, and when you hear his chiaroscuro, a light and shade beyond the reach of virtually any other pianist, you feel above all compelled to marvel at Schubert’s genius.

– International Piano

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Given his magnificent achievement in the field of art song, and the vast volume and consistently high quality of his Lieder oeuvre, it is not surprising that Schubert’s songs have been recorded numerous times. It is not surprising either that many composers, such as Franz Liszt, Johannes Brahms, Benjamin Britten, Hector Berlioz, Max Reger and Anton Webern made arrangements of Schubert’s songs. What is surprising, however, is the fact that these arrangements - made by some of the greatest composers in musical history - are so seldom heard either in concert or on record.

With the release of this album, hopefully that situation will change. It combines 17 Schubert compositions, of which 13 were orchestrated by late-romantic German composer Reger Max, and four by a member of the Second Viennese School, Anton Webern. When listening to these songs, the listener will discover that these arrangements are made with such craftsmanship that they themselves became unparalleled works of art.The performers on this SACD are the Rundfunk-Sinfonieorchester Berlin and German tenor Christian Elsner, conducted by Maestro Marek Janowski. The album’s accompanying booklet contains the lyrics to the songs both in German and English, as well as programme notes and artists’ biographies.

Chamber orchestra Schubert, but with plenty of bite.

Having greatly enjoyed Thomas Dausgaard’s Schumann symphonic recordings, I was more than delighted to find this Schubert disc amongst my allocation. This is still part of the Swedish Chamber Orchestra’s ‘Opening Doors’ collection, though the logo isn’t being paraded with quite as high a profile as previously and my copy had no extra cardboard slip for the standard jewel case. Schubert’s 8th and 9th Symphonies are already available in this series on BIS-1656. BIS already released some Schubert Symphonies with Neeme Järvi in the 1980s with nice performances from the Stockholm Sinfonietta, but Dausgaard’s recordings, while drier in acoustic, are more distinctive in terms of style.

My last encounter with Schubert’s symphonies via these pages was with Herbert Blomstedt’s fine Berlin Classics set with the Staatskapelle Dresden. The orchestral sound is inevitably grander than with the Swedish Chamber Orchestra, but timings with each movement are not so very different, and I still like Blomstedt’s lightness of touch with these works, even if the wobbly vibrato to the flute sound is bothersome. There are no such quibbles with the orchestral sections with this BIS recording. The music is played expressively but without any kind of over-emphasis, the actual recording not terribly spectacular but nicely detailed and realistic.

Performing Schubert symphonies with a chamber orchestra should hold few if any real surprises, unless you are only used to the likes of Herbert von Karajan, whose Berlin Philharmonic recordings on EMI Gemini are a rich and refined sonic feast but of a distinctively mid to late Beethovenian flavour. Schubert’s symphonies were never performed publicly in his lifetime, and the Symphony No. 6 was the only one he heard played in rehearsal with an amateur orchestra. This is a youthful work which makes tribute to the likes of Rossini, and the orchestra of the time would have been more comparable with those used by Mozart and Haydn than anything particularly Romantic. Chamber orchestra forces do not however result in Schubert-lite, and you only have to listen to the tremendous accents of the Scherzo to be made aware of the hard-hitting possibilities of such an ensemble. Fewer strings make for a more equal partnership between these and the wind sections, and the sense of inner dialogue is a strong aspect in this recording. As far as I am concerned there is nothing anaemic about this performance, and it ticks all the boxes for radiant joy and underlying drama.

Six years on from the Symphony No. 6 saw Schubert involved in Rosamunde, a play which promised much but ended in humiliating public failure, Schubert’s excellent incidental music unable to lift the audience’s indifference to the theatre experience, but strong enough to become popular in its own right. The sections presented here are Entr’actes 1, 3, and 2, and the Ballet Music No. 2 and No. 1 in that order. This is a more complete set than most ‘filler’ movements added to orchestral recordings, and with the famous tune of Entr’acte No. 3 played with warmth and affection, the two ballets given perfect energy and tempi and plenty of atmospheric dramas elsewhere I can find nothing to complain about. You won’t find the orchestral opulence of recordings such as the Chamber Orchestra of Europe under Claudio Abbado on Deutsche Grammophon, and this is still one of your best bets if looking for the complete Rosamunde, choir and all. Listening to this BIS recording does however make one realise how idealised such performances can become, and it is Thomas Dausgaard who brings us closer to the earthy reality of an orchestra in something approaching a theatre setting.

-- Dominy Clements, MusicWeb International

Swiss pianist Francesco Piemontesi interprets Schubert’s last three piano sonatas (D958-D960) on his PENTATONE debut album, after years of engagement with these extraordinary works. These sonatas continue to fascinate pianists and listeners until this very day. They are arguably among the most existential music ever written for the piano, full of beauty and sadness, celebrating life and at the same time anticipating the composer’s untimely death. Even if Schubert was barely thirty years old when he wrote these works, they reveal the otherworldly and detached nature of what is often described as “late style”, while the music remains highly expressive and personal.

-----

REVIEW:

Piemontesi’s instinctive good taste means he never indulges in histrionics, and operates on the principle that understatement can carry more emotional power than its converse. This performance of D958 is the best I have ever heard. His D959 exhibits the same virtue. The D960, recorded live and technically immaculate, is glorious.

– BBC Music Magazine

The main question here is how BMG's new 20-bit remasterings compare to those in their 1990 Toscanini Complete Edition. Both ends of the dynamic spectrum are considerbly opened up, which intensify the Maestro's stinging accents and point up the carefully sculpted cantabile phrasings to an unprecedented degree. I also detect smidgens of artificial reverberation: tastefully applied, but frankly superfluous. The Schubert symphonies boast relentless forward momentum, which pushes the NBC Orchestra to the edge of its collective virtuosity. I prefer Toscanini's weightier 1940 Schubert "Great", featuring the more tonally alluring Philadelphia Orchestra. By contrast, the Mendelssohn works benefit from Toscanini's slightly looser-limbed expansiveness in the slow movements, and the solo work is more relaxed. The performances, incidentally, date from between Toscanini's 83rd and 87th years, and reveal the Maestro's unflagging energy and fervent committment in each and every bar.

--Jed Distler, ClassicsToday.com

German pianist Elly Ney (1882-1968) came to be regarded as one of the great Beethoven interpreters of the 20th century and her prewar recording of the Op 111 sonata must still be considered one of the very finest. That recording, and all the other solo and concerto recordings she made for Electrola before the war are included here. Particularly noteworthy are the three landmark concerto recordings, the Mozart and Beethoven vivacious and stylish, the Strauss revealing just what a virtuoso Ney could be. Though she specialized in Austro-German repertoire, another side to her art is shown in her early, almost unknown, American Brunswick acoustic recordings, reissued in this set for the first time. Here the repertoire choice is broader and lighter and there is even a stunningly articulated Debussy 'Feux d'artifice' - the work's first recording.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

-----

Philippe Herreweghe has earned a reputation as a Baroque music specialist, yet his range stretches from the Renaissance to contemporary music. On this release he leads the Royal Flemish Philharmonic in the dramatic and eloquent Great C Major Symphony of Franz Schubert.

The world-renowned Brentano String Quartet presents the Franz Schubert String Quintet with guest Michael Kannen. Recorded in concerts at Amherst College the energy of the live performance is evident in this stunning recording of Schubert's masterpiece.

As this second volume of overtures shows, there really is quite a bit of little-known Schubert orchestral music. Perhaps the biggest discovery for many listeners will be the turbulent Overture in E minor, but there are more than a few substantial pieces here. The two Overtures in the Italian Style are delightful, and so true to their models, and all of the music here is very well played and recorded. Benda and the Prague Sinfonia deliver a particularly vivacious account of the Rosamunde Overture, just the opposite of the thick and heavy "German" approach that we so often hear, while Fierabras also has plenty of energy. The sonics capture the players very naturally, with nicely present woodwinds and excellent balances between brass and strings. No qualms here: Go for it.

--David Hurwitz, ClassicsToday.com