Records: Andreas Staier's Schubert: Piano Sonatas

By Justin Urcis

It seems like a new recording of late Schubert works is released every week. The number of Die Winterreise recordings has exploded, and almost every important pianist has recorded at least some of the piano sonatas. Luckily, these recently-released recordings from the German pianist Andreas Staier offer a fresh perspective on a composer who risks overexposure.

Staier performs on a Viennese fortepiano constructed around 1825. This is no nine-foot Steinway in Carnegie Hall--more like the piano that has collected dust at your grandparents' house for the past 50 years. Although twangy and primitive at times, the instrument has a surprisingly full sound. Perhaps its greatest feature is the una corda pedal. On a modern Steinway, application of the soft pedal results in a slight change of color, but on this fortepiano, the change is startling: Witness the first movement of D. 960, where melodies float above the Alberti bass accompaniment and the strings produce an ethereal, harp-like sound. This pedal also has the ability to create an air of mystery and suspense. At the end of the development section of the first movement of D. 958, the diabolical scales which serve as the transition into the recapitulation take on a neurotic quality that eludes performances on the modern piano.

As fascinating as this instrument is, it requires an imaginative musician like Andreas Staier to bring it to life. Staier has flawless technique and impeccable taste. His structural understanding of Schubert's wayward sonatas is impressive, and he has an intuitive sense of when to push forward and when to hold back. Although Staier takes all the repeats in these long sonatas, stretching the first movement of D. 960 to 22 minutes, there is never a moment of boredom. In addition, Staier has an impressive command of silence--the music continues to breathe throughout the rests. One poignant instance occurs in the middle of the finale of D. 958, where we feel a continuous pulse in the silent measures before the transition to a lyrical theme in B major.

The placing of the three sonatas on a two-CD set is an inspired decision; it allows us to hear the connection between all three works. Each work is able to stand on its own, yet they are linked motivically, rhythmically, and harmonically. This set is a wonderful introduction to Schubert's late compositions, as well as a thrilling release for those who think they already know these sonatas well enough.

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