Sonata in A & 6 Moments musicaux

Martin Helmchen

19.9927.49
Clear
Original Recording Format: DSD 64

In hindsight, it is not difficult to view all compositions by Franz Schubert dating from 1828 as his swan song. Schubert suspected that he did not have much time left. One time in particular at the beginning of October, some six weeks before his death, he wrote as follows to a Leipzig publisher: “Among other items, I have written three sonatas for piano solo, which I would like to dedicate to Hummel. […] I have performed the sonatas already in various locations to great acclaim.” But here the wish was father to the thought, as finally the works were not completed until September 1828. There was no reply to his offer. The three Sonatas D. 958 (in C minor), D. 959 (in A major) and D. 960 (B-flat major) were not published until 1839, more than 10 years after Schubert’s death: they were issued in three volumes – with a dedication to Robert Schumann.

Tracklist

1.
Sonata in A, D 959 - Allegro
11:56
2.
Sonata in A, D 959 - Andantino
08:24
3.
Sonata in A, D 959 - Scherzo - Allegro vivace
05:08
4.
Sonata in A, D 959 - Rondo (Allegretto)
12:36
5.
6 Moments musicaux, D 780 - No. 1 - Moderato
05:25
6.
6 Moments musicaux, D 780 - No. 2 - Andantino
06:07
7.
6 Moments musicaux, D 780 - No. 3 - Allegretto moderato
01:46
8.
6 Moments musicaux, D 780 - No. 4 - Moderato
05:17
9.
6 Moments musicaux, D 780 - No. 5 - Allegro vivace
02:01
10.
6 Moments musicaux, D 780 - No. 6 - Allegretto
08:31

Total time: 01:07:11

Additional information

Artists

Genres

,

Label

Qualities

Channels

, ,

Original Recording Format

Cables

van den Hul

Digital Converters

Meitner

Composers

Mastering Equipment

B&W Nautilus

Producer

Job Maarse

Recording Engineer

Jean Marie Geijsen

Recording location

Deutschlandfunk Kammermusiksaal, coogne, Germany

Recording Type & Bit Rate

DSD64

Recording Software

Merging

SKU

PTC5186329

Release Date July 7, 2015
SKU PTC5186329

Press reviews

SA-CD.net

Helmchen really makes Schubert sing. He brings a sense of drama to the music without playing especially loud. I was most taken with his playing in the second movement. The prescribed pauses are lengthy and purposeful. I enjoyed how Helmchen’s playing style and somewhat slower tempos spotlight the subtle variation in Schubert’s left hand lines.

The multichannel sound is above reproach, with both bloom and detail. This recording has more a large room than a “hall” sound, but definitely not too close.

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