Há muito prometida, eis a integral das Sonatas de Schubert com o grande Willhelm Kempff. Para muitos, a principal gravação das obras de Schubert, item obrigatório em qualquer cdteca. O texto abaixo foi retirado do New York Times, quando do lançamento da coleção, em 1981:
Between 1965 and 1970, Wilhelm Kempff recorded 18 Schubert sonatas, a survey now re-released on seven Deutsche Grammophon CD’s (423 496-2). Kempff’s insouciant tempos and simplicity of line employ a strategy of concealment. They reveal Schubert’s mysterious world by hiding it from us, or almost hiding it.
For while Kempff’s playing is all innocent demeanor and happy briskness, he knows just when to drop his guard. Through deflected image, glimpse and implication, the pain, nostalgia and wonder beneath this surface are allowed to come through, made even more powerful by indirection. Where pianists like Sviatoslav Richter, Serkin and Arrau attempt to meet Schubert’s dark side head-on — with heavy declamation and groaning seriousness — Kempff has wisely kept a straight face and a light touch.
I can think of no other pianist who could have gotten away with Kempff’s quickness and plainness here. How, for example, do the treble passages in the first movement of the G-major Sonata (D. 894) sound so ingenuous and yet convey such weight? How can Kempff move the beginning of the great A-major Sonata (D. 959) so briskly and still retain a ritual dignity? Why does the finale of the D-major Sonata (D. 850) resemble a child’s dream, and how does the opening of the famous B-flat Sonata (D. 960) survive Kempff’s leisurely simplicity? Isn’t this profoundly serious music, worthy of the deepest interpretive gestures?
Innocence, I suspect, is not the clue to Kempff’s success. He did not achieve these small miracles just by riding around on the winds of inspiration. Or if indeed innocence is the answer, it is innocence hard won. The precision with which Kempff signals new harmonic directions or shifts in light and dark is too uncanny and too regular to have arrived all by itself. Slight hesitations, smoothings of legato, the barest accentual nudge — all bear the mark of a contemplative mind that rejects complication as a lower order of intelligence. One notices after a few hours of listening the reflection of decades, made to behave as if nothing had been reflected on at all.
Kempff also understood recording — not perhaps its gadgetry, but its sense of scale. The great explosions of the late A-major’s slow movement are not pianism turned orchestral but pianism that implies orchestral effect within the boundaries of a specific instrument. Indeed, the modesty of the living room — with its opportunities to whisper as well as gesticulate — pervade these seven wonderful disks. They also remove this music from the concert hall where it has never been entirely comfortable.”
Eis o comentário do editorialista da amazon.com :
Wilhelm Kempff was a master of poetic lyricism, with a wondrous keyboard touch and a breathtaking command of subtle dynamics and tonal colorations–all invaluable attributes of any Schubert interpreter. He also had the knack of holding together large structures that can often seem aimless, thus avoiding another trap many pianists fall into, that of lavishing so much attention on passing detail that Schubert’s “heavenly lengths” can seem wayward wanderings. The one criticism often heard is that Kempff emphasizes poetry at the expense of drama. This magnificent set leaves that claim unsubstantiated.
Few pianists have been so successful, for example, in what may be Schubert’s wildest single movement, the nightmarish Andantino of the A major Sonata, D. 959. Here, Kempff captures the tortured mood of the piece to perfection without breaking its Classical frame. Tempos are generally expansive, but Kempff’s tonal luster and unerring sense of natural phrasing never make you want him to step on the accelerator. A special treat is the inclusion of rarely heard early works. Some of these were left unfinished; others reflect a composer still mastering his craft. But most are of more than passing interest, and some have an enchanting, aching beauty. Kempff’s Schubert set has been a recording classic since its release on LP; its availability in a space-saving CD box at a budget price is cause for celebration. –Dan Davis
Klaviersonaten D. 960 in B Flat Major, D. 960, Five Pieces [Sonata in E major], D459
01 – Sonata in B-flat major, D960 – I. Molto moderato
02 – II. Andante sostenuto07 – III. Adagio
03 – III. Scherzo (Allegro vivace)
04 – IV. Allegro ma non troppo
05 – Five Pieces [Sonata in E major], D459 – I. Allegro moderato
06 – II. Allegro
07 – III. Adagio
08 – IV. Scherzo (Allegro)
09 – V. Allegro patetico
Wilhelm Kempff – Piano
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