Pianist Valery Afanassiev – renowned for his strikingly individual and deeply introspective interpretations of the music of Franz Schubert – has paired two often extrovert works by the composer: the set of six Moments Musicaux and the Sonata D. 850. Recorded in September 2010 at the Auditorio Radiotelevisione Svizzera, Lugano, this is ECM’s second Schubert recording by the Moscow-born pianist, having previously released a live recording of Afanassiev performing Schubert’s final Sonata D. 960 at the 1986 Lockenhaus Festival that has become a connoisseur’s favourite. Composed from 1823 to 1827, the year before the composer’s premature death, the Moments Musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark. The Sonata D. 850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with yodelling-like melodies, simulated horn calls and strongly syncopated rhythms – but like so many works by this composer, there are passages with an air of nostalgia and emotional ambiguity.
Franz Schubert: Moments musicaux
Valery Afanassiev
Der Pianist Valery Afanassiev – berühmt für seine hoch individuellen und tief introspektiven Interpretationen der Musik von Franz Schubert – kombiniert hier zwei eher extrovertierte Werke des Komponisten: die sechs „Moments musicaux“ und die Sonate D-Dur (D 850). Aufgenommen im September 2010 im Auditorio Radiotelevisione Svizzera in Lugano, ist dies die zweite Schubert-Einspielung des in Moskau geborenen Pianisten für ECM. Zuvor war eine Liveaufnahme von Afanassiev mit Schuberts letzter Sonate (D 960) beim Lockenhaus Festival 1986 erschienen, die inzwischen als Geheimtipp für Kenner gilt. Die „Moments musicaux“, geschrieben in den Jahren 1823 bis 1827 (dem Jahr vor dem unzeitigen Tod des Komponisten), strömen über vor liedhaften und tänzerischen Elementen, und auch vor den für Schubert so charakteristischen Stimmungswechseln von Dur nach Moll, von hell zu dunkel. Die 1825 geschriebene Sonate in D-Dur (D 850) ist eine von Schuberts überschwänglichsten Klaviersonaten – mit volkstümlich wirkenden Melodien, simulierten Hornrufen und stark synkopierten Rhythmen – aber wie in so vielen Werken dieses Komponisten gibt es auch hier Passagen mit einer Aura des Nostalgischen und voller emotionaler Ambivalenz.
- Moments musicaux, D 780 (Op. 94)
- 1C major: Moderato05:54
- 2A-flat major: Andantino07:17
- 3f minor: Allegro moderato02:17
- 4c-sharp minor: Moderato05:19
- 5f minor: Allegro vivace02:05
- 6A-flat Major: Allegretto07:07
- Sonata in D Major, D 850 (op. 53)
- 7Allegro vivace09:37
- 8Con moto12:38
- 9Scherzo: Allegro vivace09:29
- 10Rondo: Allegro moderato09:07
Pianist Valery Afanassiev – renowned for strikingly individual and deeply introspective interpretations of the music of Franz Schubert – has now paired two often extrovert works by the composer: the set of six Moments musicaux and the Sonata D850. Recorded in September 2010 at the Auditorio Radiotelevisione Svizzera, Lugano, this is ECM’s second solo Schubert release by the Moscow-born pianist, having previously issued a live recording of Afanassiev performing Schubert’s final Sonata D960 at the 1985 Lockenhaus Festival that has become a much-discussed favorite among connoisseurs.
Composed from 1823 to 1827, the year before the composer’s death at age 31, the Moments musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark, often within a single piece. With its glittering surface, the brief No. 3 in F minor was one of Schubert’s more popular piano pieces for decades; but the ballroom-worthy tune has an odd tension underneath, as if the party were bound to end early. No. 1 in C Major has melodies reminiscent of the composer’s Winterreise, while the two in A-flat Major, Nos. 2 and 6, tap rich veins of melancholy, particularly in Afanassiev’s interpretations. No. 4 in C-sharp minor is another number that swirls like a woman dancing with tears in her eyes. No. 5 in F minor is the set’s lone thoroughly fast-paced number, although even its uptempo leaps have a brittle quality.
The Sonata D850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with ländler-like melodies, simulated horn calls and strongly syncopated rhythms; he composed the piece over three weeks in the spa town of Gastein, so the environment undoubtedly contributed to the sonata’s high spirits. Yet, as with so many works by this composer, there are also passages in D850 pregnant with nostalgia and emotional ambiguity, especially in the Con moto second movement, which Afanassiev explores with meditative concentration.
Composed from 1823 to 1827, the year before the composer’s death at age 31, the Moments musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark, often within a single piece. With its glittering surface, the brief No. 3 in F minor was one of Schubert’s more popular piano pieces for decades; but the ballroom-worthy tune has an odd tension underneath, as if the party were bound to end early. No. 1 in C Major has melodies reminiscent of the composer’s Winterreise, while the two in A-flat Major, Nos. 2 and 6, tap rich veins of melancholy, particularly in Afanassiev’s interpretations. No. 4 in C-sharp minor is another number that swirls like a woman dancing with tears in her eyes. No. 5 in F minor is the set’s lone thoroughly fast-paced number, although even its uptempo leaps have a brittle quality.
The Sonata D850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with ländler-like melodies, simulated horn calls and strongly syncopated rhythms; he composed the piece over three weeks in the spa town of Gastein, so the environment undoubtedly contributed to the sonata’s high spirits. Yet, as with so many works by this composer, there are also passages in D850 pregnant with nostalgia and emotional ambiguity, especially in the Con moto second movement, which Afanassiev explores with meditative concentration.
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