Schubert's piano sonatas are still rarely encountered in the concert hall,
despite pioneering work by such eminent pianists as Alfred Brendel, András
Schiff and John Damgaard's teacher, Wilhelm Kempff. Yet, for anyone who responds
to the late Schubert symphonies or the inspiration of his songs, the late
string quartets and above all, the great String Quintet, there will be much
to enjoy in the piano sonatas. Indeed, there are treasures in these sonatas
to equal if not surpass those of his other late works. This magnificently
played 5-CD set of the completed piano sonatas from ClassicO is an excellent
opportunity to hear the true genius of Schubert captured in performances
of great poetic intensity married to a formidable technique.
The sonatas are distinguished by intensely beautiful song-like melodies and
also a surprising quirkiness rarely found in Mozart and Beethoven. For example,
an extraordinary low trill in the left hand punctuates the sublime hymn-like
first subject of the opening Molto moderato of the very last sonata
(D960) and there is an amazingly violent outburst at the centre of the
Andantino of the Sonata in A D959 which all but destroys the other-worldly
serenity of its opening gently rocking theme. John Damgaard emphasises the
pioneering side of these works and does not shy away from underlining their
more eccentric twists and turns. He brings a clear-sighted approach which
does not preclude refinement or intellectual rigour but which achieves that
most difficult of tasks: appearing to allow the music to play itself without
interpretative intrusions.
Undoubtedly Schubert's piano sonatas have suffered from being composed under
the shadow of Beethoven yet it is remarkable how little of these pieces remind
the listener of the older composer's works in this genre. Indeed, there are
many extraordinary passages in the Schubert sonatas which seem to anticipate
later composers: in the Sonata in A minor D845 (1825), the start of the
Development section of the opening Moderato could almost have come
out of Grieg's Peer Gynt, whilst the first variation of the following
Andante, poco mosso is very Chopinesque, as is the Mazurka-like
Menuetto in the E flat Sonata D568. The stormy outburst in the A major
sonata D959 looks forward to Liszt whilst the second subject of the closing
Rondo from D845 has a touch of Paganini (as rhapsodised by Rachmaninov)
about it.
The thought-provoking programme notes by Jens Østergaard include the
comment that Schubert's original treatment of time in his sonatas "not only
justifies but even asks for repeats". How sadly ironic then, that John Damgaard
disregards all exposition repeats and even the first-time repeat in the
Scherzo of the D major sonata D850. It is to be regretted that the
repeats are not observed but the soloist shapes his expositions accordingly
so that in most cases no serious damage is done. The exception is the D major
sonata D850 where, by ignoring the repeat in the opening Allegro vivace,
John Damgaard makes it nearly half the length of the following Con Moto
movement, thus rendering the sonata as a whole frustratingly misshapen and
eccentric. Otherwise, I have no complaints at all in what are arguably the
most consistently fine performances of Schubert sonatas to have emerged since
Brendel's latest thoughts on the works recorded in the late 1980s appeared
on Philips. Time and again I was moved by the sheer beauty of Damgaard's
playing. There is no greater tribute to him than if I say it was not long
before I forgot I was listening to "performances" and began to enjoy the
unique genius of Schubert: his astonishing ability to write memorable tunes
and to confound the listener's expectations (something in which he is almost
a match for Haydn).
Look to Brendel for even greater poetry (especially in the last magnificent
triumvirate D958-D960), Clifford Curzon for more delicacy and András
Schiff for deeper intellectual probing but John Damgaard has brought his
own set of insights, a magisterial control and refinement in his playing
and a remarkably consistent view to these works. In his hands, the whole
set is strikingly homogenous and the quality of Schubert's writing appears
all the more unwavering. The recording is exemplary: clear without being
clinical and emphasising the remarkable dynamic and expressive range Damagaard
has at his command. Very highly recommended for the unaccountably neglected
but infinitely rewarding repertoire as much as the beautiful and intensely
idiomatic performances.
Reviewer
Paul Conway
John Damgaard
(piano) 
