Schubert composed his Piano Sonata in A minor in 1823.  From the technical
perspective, this sonata is not adventurous.  However, it has some of
his most powerful and lovely themes.  I am using seven recordings for
comparison.  Kempff, Richter, and Damggard are from the same recordings
as in D.664.  The other four are:

Imogen Cooper - Ottavo 68608 (1986).
Michael Endres- Capricco 10730 (1995).
Till Fellner  - Erato 17869 (1997).
Stephen Hough - Hyperion 67027 (1997).

Hough has a major reputation.  Fellner is a young pianist, and his
recording which includes two other Schubert works received some good
reviews.  The Endres is part of his complete survey of Schubert's piano
sonatas; reviewers were highly complimentary.  Cooper is considered
somewhat of a protogee of Alfred Brendel; she has also had fine reviews
for her Schubert recordings.

The first movement, Allegro giusto, is a powerful study in contrasts.  My
perception of the first subject is that it expresses "evil rising to the
top".  the music is so cold, relentless, bold, foreboding, and inevitable.
The second subject, in E major, is a perfect example of the beauty in
Schubert's singing style; it also shows his great ability to convey deep
sadness in a major key.  These two extemes of mood battle one another
throughout the movement, and there are passages where they seem to be
verbally sparring with one another.  Another significant aspect of the
first movement is its strong orchestral flavor.

The first subject is made to order for Richter who slams home the
perception of evil rising.  His chords are perfect, the inevitability of
events is strongly presented, starkness is emphasized, and darkness is
complete.  As for the tender passages, Richter well conveys the sadness
and beauty of the music.

There are three versions which I can't recommend as highly as Richter
because of their style in the first subject.  Kempff has a predilection
for clipping his notes, Damggard throws in a helter-skelter aspect through
abrupt tempo changes, and Hough tends toward a herky-jerky execution.
What these three have in common is that they reduce the inevitability and
relentless qualities of the music - they call attention to themselves.
Richter moves toward total darkness with a resolve and absolute focus
that these three versions lack.

Till Fellner does very well in the first subject but is a little less
expressive in the tender passages than in most versions.  I think that
Endres would be very rewarding except for the recorded sound; it has a
thick and swimming quality to it which damages musical clarity.  It affects
my enjoyment to the degree that I doubt I will play it in the future.
This first movement demands clarity if nothing else.

I can't say that Imogen Cooper delivers one of the more powerful first
subjects, although her foreboding is excellently conveyed.  She is pure
magic when it comes to lovely passages conveyed with a subtle and deep
sense of sadness.  Richter's is a role-model performance, hers is not.
But the supreme beauty of Cooper's reading can not be overemphasized.
She stands tall next to Richter.

The second movement Andante begins in F major and entails a very short
theme lasting no more than about 20 seconds in a very slow performance.
This gorgeous theme is then repeated four times with variation before the
music takes a temporary turn toward drama and urgency.  There's no doubt
that repetition through decoration is the foundation of the Andante.
Typical timings for the movement range from 4' to about 4'30".  Two
versions use significantly different tempos - Richter and Hough.  Richter
is over 5'30"; that he can accomodate this tempo effectively is a major
accomplishment.  He seems to give each set of notes greater significance so
that the impact lasts at least as long for the next set of notes to arrive.
His is an excelllent version with the best supply of drama.  Hough is quite
fast at under 3'30", but he has no problem providing the music's poetry;
the urgency in his reading is superb.  To tell the the truth, I find the
other versions also to be highly rewarding.  The conceptions of the seven
versions are very similar; only tempo creates appreciable differentiation.
Concerning the sound provided to Michael Endres, although I still notice a
"swimming" acoustic, it does not interfere with his performance.  So it's
equality all around.

The third movement, Allegro vivace, has a basic theme that elicts from
me a sense of panic with rapid triplets scurrying around after each other.
This theme needs power, speed, and consistency.  Interludes from the basic
theme are highly lyrical and represent Schubert at his singing best.

No version is less than good.  Richter, Kempff, Cooper, and Endres don't
reach excellence.  Richter's problem is that his right hand melody does not
sing clearly enough.  Kempff initiates the primary theme like a pussycat,
and Cooper and Endres are not sufficiently powerful.  Hough, Damggard, and
Fellner get everything right.  Their primary themes are powerful and
interesting; panic is upon us.  The lyrical interludes are played
beautifully and with appropriate sadness.

Summary for D.784:

All seven performances are rewarding.  The least attractive, from Endres,
is actually very good except for a less than advantageous recorded sound.
Damgaard does excellently, especially compared to his D.664 which was not
very likeable or idiomatic.  The remaining five versions are as good as
Damgaard's.

Although I prefer D.664, this A minor piano sonata holds many attractions
which are typical Schubert.  Richter's is the one single disc I have which
offers both these sonatas.  Recently, a list member kindly informed us of
its most recent reincarnation.  I'd suggest trying to obtain the recording;
it could well end up being one of your favorite Schubert solo piano discs.

My next review will be of some recordings of Schubert's Piano Sonata, D.840
which is actually a "fragment".  It should be ineresting to discover how
each artist handles a fragment, from playing it straight to finishing it
off.

Don Satz
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