Schubert wrote the Piano Sonata, D.840 in C major, in April of 1825.  He
wrote a complete first movement in sonata form, complete Andante second
movement, incomplete third movement minuet which stops after 80 bars, and
an incomplete fourth movement Rondo which stops after 120 bars.

Not completing piano works was a fairly common activity for Schubert.
He had done it many times before, although D.840 was the last sonata
Schubert wrote which remained incomplete.  This piano sonata has the
title "Reliquie" based on its not being published until 1861 with the
faulty assumption that it was his last composition.

Most recorded performances of D.840 restrict themselves to the two
completed movements.  Concerning the versions I am reviewing, only
Sviatoslav Richter takes it further by performing what Schubert wrote
of the third and fourth movements.  I am not reviewing Damgaard's
performance of D.840 from his box set on Classico because it is not
included in his set.  Damgaard feels that D.840 is a "fragment" and
does not rate inclusion; I find that a poor justification and would have
preferred that he simply state that he doesn't feel like performing the
composition.  Richter's approach is the one I prefer - give me all of what
Schubert wrote, and I'll decide what I think of it.  The other artists give
me no opportunity to form any opinion of the two unfinished movements.
Another option is to provide a completion of the last two movements which
has been attempted in this century by four individuals including Ernst
Krenek and Paul Badura-Skoda.

These are the five recordings I offer for your consideration:

Wilhelm Kempff - DG 463766 (box set).
Sviatoslav Richter - Philips 416292 (1979).
Michael Endres - Capriccio 490753 (1996).
Mitsuko Uchida - Philips 454453 (1996).
Alfred Brendel - Philips 422340 (1988).

Since Richter, Uchida, and Brendel are three of my favorite pianists, this
hopefully represents a real listening treat for me.  Of course, Kempff is
no wallflower and Endres did a fairly good job with D.784.

The first movement, Moderato, is a very long one.  Richter savors it for
over 22 minutes.  At the other end, Brendel turns on the burners, skips the
repeats, and finishes off the movement in less than 12 minutes.  I must say
that Richter is ever so slow.  Since I'm a person who has trouble staying
in one place for more than 10 minutes, Richter represents a major challenge
to my body chemistry.

In my discussion of the first movement of D.664, I emphasized the feeling
of "home" which I get from the music, a strong feeling of comfort, love,
and security.  This same perception applies to the first movement of D.840.
The first subject begins with a peaceful and beautifully singing melody
which then becomes agitated as "home" is threatened.  Subsequently, there
is an underlying current of fear and unease which is brought on by the
knowledge that there's no absolute assurance that the home can not be
invaded or disrupted or obliterated (Kosovo comes to mind).  The theme ends
on a peaceful note which I perceive as a "healing process" brought on by
the passage of time.  The second subject, in B minor, largely represents a
continuation of the first subject.  Overall, the movement keeps shifting
from serenity to agitation.

Richter's home is very appealing and represents my idea of the perfect home
as it did in his D.664 first movement.  The agitated passages are strong
with a great bass line.  My only reservation is that the underlying current
of fear has little urgency.  Overall, it's a superb performance.  Richter's
first theme takes 5'40".

Endres is much quicker than Richter; his first theme lasts only 3'40".
Endres' home has a playful quality to it with reduced serenity.  Agitation
is strong and appropriate.  Fear has more urgency than Richter provides.
This is a fine performance not as deep or insightful as Richter's.

Brendel's home can sound rather dull and superficial; Endres is better.
Agitation is more than strong; it's menacing, and I like that touch.
Brendel is also outstanding in providing that underlying current of fear
with superb urgency.  I should point out that Brendel's tempo corresponds
to that of Endres.

Uchida's tempo is a little slower than Brendel or Endres.  Her home is in
Brendel's category, but the agitation is even more menacing than Brendel's.
Fear/urgency is at Richter's level, and her bass line is as good as his.

I like Kempff's serenity; it's second only to Richter.  Unfortunately,
Kempff's bass line is quite subdued in the agitated passages.  The fear
has little urgency.

Each first movement is very enjoyable.  My favored version comes from
Richter; nobody conveys the singing serenity of Schubert as well as he
does.  Uchida and Brendel come next as each provides some outstanding
features.  Although rewarding listening, neither Kempff nor Endres ever
rises to the top.

The second movement Andante mixes serenity/lyricism with battle-like
blasts of power and agitation.  The first subject is in C minor but goes
back to the major in the second subject.  Kempff is relatively quick,
highly lyrical, and always interesting.  Endres does not project well
enough in the more lyrical passages, and I tended to lose interest while
listening.  At times, Uchida's projection is worse than Endres supplies,
but she tends to display more depth and playfulness overall.  Brendel has
no problems with projection; in fact, it's in the perfect range.  His
version, as slow as Uchida's, has much more life to it and more variety of
tone and expression.  I also prefer Brendel to Kempff's excellent version;
I feel he digs more deeply into the music.  Concerning Richter, I would
have liked stronger projection in the lyrical passages of the first and
second themes.

What of the music that Schubert left us for his 3rd and 4th movement? I'm
glad that Richter includes it.  The Menuetto has fine melodies of memorable
quality, although there's some long-winded chord banging.  Being charitable
to the fourth movement Rondo, it didn't hurt me to listen to it.

Summary:

I prefer Brendel by a small margin over Richter, largely based on his
magical 2nd movement.  Factoring in the "extra" music Richter provides, I
consider both versions essential listening.  Kempff and Uchida deliver fine
readings.  Endres comes up short; nothing is distinctive and his second
movement is very disappointing.

Next up is Schubert's Piano Sonata in A minor, D.845 which has a first
movement opening which immediately has you thinking back to D.840.

Don Satz
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