Le soliste témoigne d'un naturel et d'une simplicité qui ne subvertissent jamais le texte, ne perdant jamais de vue l'arc tendu de la tragédie derrière le sourire (Sonate, D.960). Soucieux de la narration, de la qualité de la palette sonore, du dosage du timbre (Impromptu n°3), il délivre une exécution très construite, aérée, respectueuse de la notion du temps schubertien. On subodore derrière la poésie et la tension dramatique toute la générosité et le don de soi qui rapprochent Sodi Braide de l'insondable errance du Wanderer avec une émotion pudique toujours relayée par une pulsation qui semble couler de source. Une telle conception soutient sans cesse l'intérêt et apporte assurément une pierre supplémentaire à la connaissance de l'interprétation des ultimes opus de Schubert.
Krystian Zimerman - the youngest ever winner of the prestigious Chopin Piano Competition in Warsaw at the age of eighteen – giving his Homage to Chopin and Schubert. As a brilliant musician, a renown specialist in Romantic music Krystian Zimerman combines all the prerequisites for an authorative interpretation of Chopin´s works.
The two DVDs last for 161 minutes. The picture is digitally remastered, the sound in PCM stereo and DTS 5.1 crisp and clear. The films are quite well done, utilizing concert footage as well as discrete studio closeups. Karajan's Brahms performances are exemplary and are most strongly recommended.
Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid.
While as an interpreter he is remembered most readily as an advocate of the piano music of Ludwig van Beethoven, Artur Schnabel's own favorite among the so-called "Great Masters" was Franz Schubert. Largely, Schnabel was able to record his little sips of Schubert in between great heaping gulps of Beethoven, and over a period of eighteen years managed to amass the 5 CDs worth of music that makes up Music and Arts' magnificent Artur Schnabel: The Complete Schubert Recordings. This set is "complete" in the sense that it includes every disc of Schubert that Schnabel made and approved for commercial release.
In this recording of the complete piano sonatas on period instruments, the Viennese master Paul Badura-Skoda delivers the work of a lifetime: Schubert's music with his passion, his suffering, and that inimitable tone which makes his native city the place so essentially and existentially identified with music. This collection of the twenty Sonatas for period piano recorded by Paul Badura-Skoda on the instruments in his own collection has every chance of being considered by posterity as one of the most creative and most significant achievements.