FRANZ SCHUBERT the complete piano sonatas ∆ played on period instruments FRANZ SCHUBERT A 364 the complete piano sonatas ∆ played on period instruments CD1 Sonata No. 1 in E major, D 157 1 I. Allegro ma non troppo 5’12 2 II. Andante 7’14 3 III. Menuetto. Allegro vivace 4’11 Sonata No. 9 in B major, Op. posth. 147, D 575 4 I. Allegro, ma non troppo 8’00 5 II. Andante 5’13 6 III. Scherzo. Allegretto 4’43 7 IV. Allegro giusto 5’05 Sonata No. 2 in C major, D 279/346 8 I. Allegro moderato 8’10 9 II. Andante 5’25 10 III. Menuetto. Allegro vivace 3’13 11 IV. Allegretto, D 346 7’17 CD2 Sonata No. 5 in A flat major, D 557 1 I. Allegro moderato 3’35 2 II. Andante 3’05 3 III. Allegro 6’10 Sonata No. 10 in C major, D 613/612 4 I. Moderato 8’13 5 II. Adagio, D 612 3’53 6 III. (Allegretto) 6’02 Sonata No. 7 in E flat major, Op. posth. 122, D 568 7 I. Allegro moderato 9’27 8 II. Andante molto 6’20 9 III. Menuetto. Allegretto 3’50 10 IV. Allegro moderato 6’54 3 CD3 Sonata No. 6 in E minor, D 566/506 1 I. Moderato 5’15 2 II. Allegretto 8’41 3 III. Scherzo. Allegro vivace 5’53 4 IV. Rondo. Allegretto moto, Op. posth. 145/2, D 506 6’25 Sonata No. 14 in C major, «Reliquie», D 840 5 I. Moderato 14’54 6 II. Andante 9’22 7 III. Menuetto. Allegretto 5’21 8 IV. Rondo. Allegro 9’00 CD4 Sonata No. 3 in E major, Fünf Klavierstücke, D 459 1 I. Allegro moderato 6’45 2 II. Scherzo. Allegro 3’23 3 III. Adagio 4’54 4 IV. Scherzo con Trio. Allegro 3’10 5 V. Allegro patetico 4’47 Sonata No. 15 in A minor, Op. 42, D 845 6 I. Moderato 9’56 7 II. Andante, poco mosso 11’27 8 III. Scherzo. Allegro vivace 7’06 9 IV. Rondo. Allegro vivace 4’55 CD5 Sonata No. 8 in F sharp minor, D 571/604/570 1 I. Allegro moderato, D 571 8’05 2 II. [D 604] 3’55 3 III. Scherzo. Allegro vivace, D 570 2’58 4 IV. Allegro D 570 6’57 4 Sonata No. 16 in D major, Op. 53, D 850 5 I. Allegro 9’30 6 II. Andante con moto 11’07 7 III. Scherzo. Allegro vivace 8’06 8 IV. Rondo. Allegro moderato 8’25 CD6 Sonata No. 4 in A minor, Op. posth. 164, D 537 1 I. Allegro, ma non troppo 11’35 2 II. Allegretto quasi Andantino 7’33 3 III. Allegro vivace 4’54 Sonata No. 17 in G major, Op. 78, D 894 4 I. Molto moderato e cantabile 16’50 5 II. Andante 7’40 6 III. Menuetto. Allegro vivace 4’25 7 IV. Allegretto 8’50 CD7 Sonata No. 11 in F minor, D 625/505 1 I. Allegro 9’05 2 II. Scherzo. Allegretto 5’00 3 III. Adagio, opus posth. 145/I 3’26 4 IV. Allegro 5’37 Sonata No. 18 in C minor, D 958 5 I. Allegro 10’52 6 II. Adagio 7’28 7 III. Menuetto. Allegro 3’39 8 IV. Allegro 9’37 CD8 Sonata No. 13 in A minor, Op. posth. 143, D 784 1 I. Allegro giusto 11’27 2 II. Andante 3’53 3 III. Allegro vivace 5’17 5 Sonata No. 19 in A major, D 959 4 I. Allegro 15’08 5 II. Andantino 7’27 6 III. Scherzo. Allegro vivace - Trio. Un poco più lento 5’07 7 IV. Rondo. Allegretto 11’00 CD9 Sonata No. 12 in A major, Op. posth. 120, D 664 1 I. Allegro moderato 6’43 2 II. Andante 4’05 3 III. Allegro 7’53 Sonata No. 20 in B flat major, D 960 4 I. Molto moderato 19’37 5 II. Andante sostenuto 8’52 6 III. Scherzo. Allegro vivace con delicatezza 3’58 7 IV. Allegro, ma non troppo 8’00 PAUL BADURA-SKODA Fortepianos (from the artist’s collection) 1992, 1993, 1994, 1997 / ©2013 Outhere Music France. Sound∏ engineer: Michel Bernstein and Charlotte Gilart de Keranflec’h Digital editing: Charlotte Gilart de Keranflec’h, assisted by Joséphine Deschamps (Sonatas nn. 3, 16, 18) and Régis Touray (Sonatas nn. 5, 6, 7, 10, 14) Produced by: Michel Bernstein. 6 THE RecordiNGS 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 8 w Georg Hasska e Conrad Graf Vienna, c. 1815 432 - Vienna, c. 1824 Compass: F - f4 Compass: C - f4 9 r Conrad Graf t J.M. Schweighofer 1118 - Vienna, c. 1825 Vienna, c. 1846 Compass: C - f4 Compass: C - f4 10 Preface to the Piano Sonatas of Schubert Paul Badura Skoda More than a century was to elapse before the musical world began to recognize what an enormous treasure was hidden in the piano Sonatas of Schubert. The delay in their discovery is closely linked to their profundity, their novelty and their originality. The piano Sonatas of C. Maria von Weber, for example, were much more quickly appreciated by the public. However, despite the brilliant style and the partly Schubertian beauty found in the Sonata in A-flat major these works have today fallen into almost total oblivion. The same thing has happened to the works of Hummel which are not without importance in this area, while their author was almost as appreciated as Beethoven during his lifetime. Schubert surpassed these masters, and others too, in the substance, the elevation and the humanity of what he had to say and in his quest for structural perfection, for unity between form and content which, besides their differences in character, may not readily be compared on an artistic basis with Beethoven. We cannot easily avoid comparing Beethoven with Schubert: not only because they were contem- poraries (Schubert died one year after Beethoven) but because both of them expressed in their piano Sonatas – even more than in their Symphonies – what were their most intimate thoughts and because they both left a collection of sonatas approximately the same size and importance. The Beethoven Sonatas were not an immediate success. Apart from the three or four most popular ones the others did not become part of the European musical heritage until about fifty years after his death, thanks largely to Hans von Bülow, who called these Sonatas the “New Testament of pianists” (their Old Testament being the Well-tempered Clavier of Bach). But even the greatest musicians (Chopin for example) came up against their roughness, indeed occasionally a banality from which even a Beethoven was not safe. Ravel often spoke in a pejorative manner of the “Great deaf one” and would not hear talk of a monument to Beethoven before one had been erected for Mozart. No doubt he would have more readily accepted Schubert, if only because sound in Schubert was an elemental structure and because his pianistic style often conveys an almost prophetic sense of timbral beauty. This delay in the discovery of Schubert’s Sonatas – such as had not been the case with his Lieder – may partly be explained by one particular phenomenon, that of the history of their publication and of their revelation to the public at large. During Schubert’s lifetime only three of his twenty So-natas (or twenty-two according to the way they are counted) were printed: Opus 42, 53 and 78. All three of them, if must be said, were masterpieces of imposing proportions, whose genius contemporaries had to some extent already recognized (see the contemporary criticism quoted in my detailed com- mentary on Sonata in A flat major Opus 42, D 845). it was only after the death of Schubert that the other Sonatas appeared, sometimes at long intervals and for the last Sonatas not until 1897 (!) in the Supplement to the Complete Edition, which remained moreover almost inaccessible. in the pe- 11 English Français Deutsch Italiano riod when Liszt was dazzling his audiences, when lovers today the complete Sonatas of Schubert, the quarrel between Wagner and Brahms was people began to make comparisons with those of the subject of conversation, when Tchaikovsky, Beethoven which had long been established in Mussorgsky, Franck, the young Debussy and the musical circles.