Benjamin Britten
rightly described the creative achievement of Schubert's last
year, 1828, as a miracle. Included among the many masterpieces
the thirty-one year old Schubert composed that year were three
piano sonatas, the second of which, in A major, was his penultimate
instrumental composition. In the light of this, and of the profundity
of the music itself, it is tempting to describe the A major
Sonata as an example of Schubert's 'late' style. Yet it is the
work of a young man, cruelly taken from the world when in his
prime. Had he lived for another forty years, what might he have
achieved?
The Sonata is conceived on a spacious scale
and accordingly it has great emotional range. At the same time,
however, the tone is intimate and sensitive, and three of the
four movements end quietly. The music’s special character is
apparent from the beginning, for example in the shaping of the
first theme, so full of subtleties in its phrase structure.
As any pianist needs be, Zacharias is alert to these matters
and brings real personality to the opening bars. His careful
attention to details of phrasing sets the standard, and the
splendidly clear and atmospheric MDG recording suits the piano
tone admirably.
These features, of course, allow for varied
treatments in the beautifully proportioned development section.
This, moreover, affords an opportunity for the music’s expressive
potential to be explored.
The Andantino second movement is
more dramatic, despite opening with a calm theme in the style
of a barcarolle. As the music proceeds, however, the mood darkens
and minor keys dominate. At length Zacharias generates a veritable
storm of intensity, the more powerful since it appears in the
context of the brightness of the remainder of the work.
The third movement scherzo is at once lively
and buoyant, though the music still has its surprises, including
lurches back to minor-key intensity. These ‘unexpected’ changes
of focus present another challenge to the performer, and while
Zacharias handles them confidently, his performance here as
elsewhere does not surpass the interpretations of other pianists
notable for their association with Schubert. In this work both
Alfred Brendel (Philips Duo 438 702 2) and Murray Perahia (Sony
MK 44589) immediately come to mind. But make no mistake, Zacharias
is not eclipsed in this company, though does he surpass these
great pianists.
The finale makes a point of using the whole
range of the keyboard, and the new MDG recording articulates
this to telling effect. Zacharias communicates the flowing Allegretto
pulse with great sensitivity and emotional shading, allowing
for the intensification of the episodes to make its point.
Terry Barfoot
Christian Zacharias
(piano)
