Alfred Brendel Live in Salzburg
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Composer: Franz Joseph HaydnPerformer: Franz Joseph Haydn
Composer: Franz [Vienna] Schubert
Composer: Franz Liszt
Performer: Alfred Brendel
Composer: Alfred Brendel
Edition: Music CD
CD Release Date: 2001-08-21
Music Label: Philips
Soundtracks:
- Andante with variations for piano in F minor, H. 17/6
- Keyboard Sonata in C major, H. 16/50: Allegro
- Keyboard Sonata in C major, H. 16/50: Adagio
- Keyboard Sonata in C major, H. 16/50: Allegro molto
- Piano Sonata No. 14 in A minor ('Grande Sonate'), D. 784 (Op. posth. 143): Allegro giusto
- Piano Sonata No. 14 in A minor ('Grande Sonate'), D. 784 (Op. posth. 143): Andante
- Piano Sonata No. 14 in A minor ('Grande Sonate'), D. 784 (Op. posth. 143): Allegro vivace
- Piano Sonata No. 15 in C major ('Relique'), D. 840
- Piano Sonata No. 15 in C major ('Relique'), D. 840
- Isoldens Liebestod: Schlu?szene aus Tristan und Isolde, transcription for piano (after Wagner), S. 447 (LW A239)
Music reviews of Alfred Brendel Live in Salzburg
Music Review: Brendel redeemed (for me, at least)
Rating: 5 Stars
This review isn't addressed to Brendel's legion of fans or to those who already accept the critical consensus about his greatness. I belong to another sizable mass of listeners for whom he is too dry, austere, and reserved. The good news is that after hearing and rejecting dozens of Brendel recordings over the years, I find myself wn over by large parts of this live recital, which is a compilaiton of several recitals given at Salzburg in the early Eighties.
To begin at the end first, Brendel's handling of Liszt's transcription of the Liebestod from Tristan und Isolde is wondrous. The piece contains every shallow keyboard effect one is tiresomely used to from Liszt, and yet in Brendel's hands, Isolde's death and transfiguration actually becomes moving and expressively genuine. It's one of the best things I've ever heard form him.
But so is the Haydn that opens the recital. both the set of variations and the C major sonata come across with wit, alertness, and personal expression--for once this isn't music for a toy piano. But the real test for me is the Schubert. Here we have two great sonatas that Brendel has recorded at least twice in the studio, and in both cases I missed the lyrical heart and romantic poingnancy of these works. Dry and detached are words I've applied to Brendel's Schubert, but they don't apply here. The A minor Sonata D. 784 has had great readings on disc from Kissin and Richter (just to name two of my favorites), and now Brendel joins them with equal mastery and feeling for the depth of this music.
In the two-movement C major Sonata D. 840 he's on the same plane of lyrical eloquence, handling Schubert's deceptively simple writing with real originality. Not a single rhythm is foursquare, no emotion is played for external effect. This is great playing by any standard and wholly redeems Brendel for this former non-believer. My only quibble is that the piano, though recorded well, is still a bit clangy at times (even so, Richter has been recorded on instruments that sound a lot worse).
Description of Alfred Brendel Live in Salzburg
Alfred Brendel selected these performances from his recitals at the Salzburg Festival in the 1980s, so the sound is a cut above most "live" recordings and presumably reflects the pianist's satisfaction with playing and interpretation. He certainly should be satisfied, for the result is a wonderfully played, stimulating program. The sprightly Haydn Variations that open the disc reflect Brendel's strengths--clarity, expressiveness within an overall objective framework, and a degree of color often absent from his studio recordings. The Haydn Sonata that follows adds to these his feeling for structure and the puckish humor he relishes in a composer who had an abundance of it. Schubert, a Brendel specialty, is represented by a fine A minor Sonata, D.784, more spontaneous sounding than his studio version, and the unfinished C Major Sonata, to whose two movements he brings depth of feeling and vividly projected pianism. The final item, Liszt's transcription of the Liebestod from Wagner's Tristan and Isolde, has breadth and power--a keyboard equivalent of a great dramatic soprano. The disc is a worthy 70th birthday tribute to a great pianist. --Dan DavisGeneral CDs
- Styles > Classical
- Chamber Music > General
- Featured Composers, A-Z > ( H ) > Haydn, Franz Joseph
- ( L ) > Liszt, Franz
- ( S ) > Schubert, Franz
- Forms & Genres > Sonatas > Sonatinas
- General
- Historical Periods > Classical (c.1770-1830) > Forms & Genres > Chamber Music
- General
- Haydn, Franz Joseph - Works by Franz Joseph Haydn
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