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Andras Schiff spielt Schubert Part 1
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Das ehrwürdige österreichische Schloss Erb bot 1991 eine stimmungsvolle Kulisse für das Konzert dreier Künstler, die für die Interpretation der Musik von Franz Schubert berühmt sind: András Schiff, Yuuko Shiokawa und Miklós Perényi. Mit Energie und Sensibiliät reagieren die drei Musiker ebenso aufeinander wie auf den Fluss der Musik, arbeiten die Kontraste und die subtilsten Nuancen aus Schuberts Klaviertrios heraus und kreieren im Verlauf des langsamen Satzes im EsDur Trio eine zunehmend geheimnisvolle Atmosphäre. Die weniger bekannte „Arpeggione“Sonate erklingt hier in einer Bearbeitung für Cello und weist die für Schubert typische Mischung aus Fröhlichkeit und Wehmut auf, die Schiff und Perényi mit großer Eleganz und viel Einfallsreichtum umsetzen.
Perényi masters the Arpeggione with apparent ease, with Schiff accompanying sensitively. There's a fine sense of ensemble, beautifully delineating dark and light in the Trios. --Nick Shave, BBC Music Magazine
András Schiff's wistfully lyrical approach to Schubert strikes me as near ideal for this most elusive of the great Viennese composers. --Julian Haylock, International Record Review
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András Schiff, Yuuko Shiokawa and Miklós Perényi lovingly perform these three works for piano trio, providing moving, melancholic playing at times, and lively, boisterous interpretations at others. The third movement of Piano Trio No. 1, that slow, languid melody at the heart of this work, is splendidly performed, and the balance between the instruments is ideal. The more lively opening movement of Piano Trio No. 2 has plenty of energy. And the slower second movement of the same work, with that unforgettable cello melody opening over the piano - well known from the film Barry Lyndon - is performed with great subtlety.
The timings of the piano trios are on the long side, with the second trio nearly 52 minutes long. I find the tempi to be ideal for these works, as the musicians seem to have found just the right balance of energy and speed for these trios.
The Arpeggione Sonata is performed here in a version for cello and piano. The musicians play without scores, unlike for the piano trios. Again, the balance of the instruments is ideal, and Miklós Perényi gets an occasion to stand out with his excellent cello playing.
These works are filmed in a small room, with the three musicians very close together. The piano is in the rear, and the violin and cello in the front. The sound of this recording is excellent, with a nearly perfect balance among the three performers. Visually, the small space where this was filmed allows for little variety in camera angles, but the music is so vividly performed that this actually works quite well. There is no distraction from excessive cuts and angles, so the viewer and listener can focus on the music.
These musicians recorded these works for Teldec on a 2-CD set released in 1998, but which is, unfortunately, out of print. After watching this DVD, I would very much like to get their recording, as this is one of the better performances of these works that I have heard.
This is a delightful performance of some of Schubert's best chamber music. While the video quality is not perfect, it's easy to forget this as you are carried away by the wonderful music.
The two trios are late Schubert and, although played and recorded far less often than the 'Trout' piano quintet, they are certainly of the same level of compositional inspiration. There have been fine performances on CD of these works and those by the Beaux Arts Trio and the more recent Florestan Trio have established themselves as benchmark references. The Arpeggione sonata has long been well served by the fine Rostropovich account made in partnership with Benjamin Britten.
These performances are well able to sustain comparison with these illustrious audio-only accounts. This will not come as a surprise to anyone familiar with Schiff's accounts of the Trout Quintet or the Impromptus on CD and which are considered to be among the very finest. The style of performing is undemonstrative but is deeply considered with sensitive playing matched by observance of all tempi and phrasing requirements as written by Schubert. This is not spectacular playing which draws attention to itself. Instead we experience performances that seem to speak directly to us from Schubert through the channel of these sympathetic musicians.
The recording offers good stereo sound of a standard that would allow the disc to be enjoyed as an aural only option. This means that the disc would be very competitive with CDs of the period as it plays for so much longer. However, it obviously also offers a visual record and this gives it added appeal. The camera work keeps a respectful distance and is not intrusive. This is appropriate to the type of interpretations being presented. The colour range is remarkably good for its period and the imaging, being mostly close-range is sharp enough to be enjoyable so long as a suitable viewing distance is maintained. Close viewing on large screens would not be a good option as the image will lose cohesion.
This historical disc can be summarised as a successful restoration of an important musical offering and the main focus of its value should be on that criteria. The successful restoration of its sound and the imaging is very good indeed considering its vintage and should not be a matter for serious concern if the focus remains on the music and its performance.
On those terms I would suggest that this disc and its companion issue are fully deserving of serious consideration as purchases.