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Franz Schubert : Schubert Live (Volume 2)


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Détails sur le produit

  • Interprète: Imogen Cooper (piano)
  • Compositeur: Franz Schubert (1797-1828)
  • CD (17 mai 2010)
  • Nombre de disques: 2
  • Label: Avie Records
  • ASIN : B002Q8H5ZC
  • Autres éditions : CD  |  Téléchargement MP3
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Descriptions du produit

Franz Schubert (1797-1828) : Sonate pour piano en do mineur, D 958 - 6 Moments Musicaux, D 780 - 16 Danses Allemandes et Écossaises (2) pour piano, D 783/op. 33 - Piano Sonate en sol majeur, D 894 - 4 Impromptus pour piano, D 935/op. 142 / Imogen Cooper (piano)

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Amazon.com: HASH(0x9e1bc78c) étoiles sur 5 4 commentaires
16 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x9e230f24) étoiles sur 5 The Finest Living Schubertian I Know 5 février 2010
Par Thomas A. Hanson - Publié sur Amazon.com
Format: CD
But don't take my word for it -- consult the Penguin Guide, or look at the Gramaphone Good CD and DVD Guide -- or, better yet, arrange for a hearing of these two magnificent discs. Cooper's playing is unmannered, forceful when necessary, gentle when called for, and imbued with a sense of each work's musical architecture. I normally don't review CDs on Amazon, but I could not let another reviewer have the last word on this exceptional pianist when my ears tell me a very different story. Sure, the "headline" I provided for this review may be an exaggeration (Krystian Zimerman's recording of the Impromptus puts him in the stratosphere of Schubert interpreters), but if it nudges anyone towards a purchase of these discs I am certain of forgiveness.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x9e26a834) étoiles sur 5 Artistry of the first rank 27 août 2011
Par ROBERT H. - Publié sur Amazon.com
Format: CD Achat vérifié
I would have to disagree with a previous reviewer who finds Imogene Cooper's playing on this disc as "lulling". I would say that may have characterized her playing in the past, but at the time she made her recent Avie recordings, she has grown tremendously in her understanding of how to convey the power and beauty of Schubert's music. She now provides insights into these works that give continuous pleasure. She has a keen sense of how to delight in movement after movement through masterful sense of its architecture. I am not fond of some of the characteristics of other Schubert interpreters like Richter or Kissin (power, yes but lacking often in subtelty and delicacy of expression) and Pollini (too cold and analytical for my tastes). If you want less showy, more introspective and always thoughtful interpretations of Schubert with ample complexity, you need to give Imogene Cooper a place in your collection.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9e2789f0) étoiles sur 5 Her previous masterly survey now amazingly improved in these 'live' recordings 8 février 2013
Par I. Giles - Publié sur Amazon.com
Format: CD
Over the years I have collected a range of fine performances of these inspirational works by Schubert by widely respected pianists. My previous favourite however has been the set called 'The last six years' also by Imogen Cooper. This was, and still is, a set of reference studio recordings spanning the same repertoire.

Now, some years later the BBC has recorded her 'live' at the South Bank Centre. Comparing the two sets has been instructive and has resulted in my passing the earlier set onto a friend and keeping this new set. Why? The answer is simply that the interpretations have miraculously deepened while also having an extra spontaneity that frequently accompanies live music making. In addition the performances are technically flawless, the recording is utterly faithful and the audience mercifully silent, clearly mesmerised I would imagine.

The total contents of these two discs is as follows: sonatas 18 and 19; 16 German Dances D 783; 6 Moments Musicaux; 4 Impromptus D 935.

Imogen Cooper's style is lyrically with plenty of detail brought out in terms of phrasing and accenting. Tempi are within the normal parameters but with a generally forward moving pace with rubato used sparingly. Interestingly, the effect of the rubato when used to slow the pace is to emphasise the overall forward nature of the playing rather than to produce a feeling of emotional overload and undue lingering.

I would therefore suggest that these peerless performances should figure highly on any list of desirable recordings of this repertoire. They would warrant serious consideration as both an 'only' purchase or as part of a collection. There are other fine performances available of this repertoire of course, but I would suggest that there are none finer and many not so fine.
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9e278258) étoiles sur 5 Cooper is always musical and enjoyable but not compeling 11 décembre 2009
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
How are we to approach a capable, very musical, but not inspired pianist like Imogen Cooper? She has undertaken a series of twofers on the Naive label that are centered, we are told, around the late piano sonatas of Schubert. I first knew of Cooper when she became the regular accompanist for baritone Wolfgang Holzmair on Philips. She was very good in that role, but I didn't hear a great potential for solo playing. Her fans in England would disagree; Cooper is a noted feature of the musical scene there, and she also appears in concertos with American orchestras.

All of that is to the good, but in late Schubert the long shadow of greatness can't be escaped. Richter, Schnabel, and Pollini are my touchstones in this repertoire; others would name Serkin, Lupu, Brendel, and Schiff. For virtuoso power there's Kissin and even Horowitz in the last sonata in B flat, D. 960. Cooper falls into a range of expression that's very pleasurable but not truly probing or exciting. Her approach to the haunting C minor sonata D. 958 is energetic, alert, and basically straightforward. After an infectious first movement, the Adagio is sensitive but a bit foursquare; you don't hear its ultimate poetry. The Menuetto has a nice underlying swing and sway; the finale needs to be more sparkling and vibrant but is certainly good on its own terms.

The other big sonata on the second CD is the one in G Major, D. 894. It's opening theme has a hesitant rocking motion that reminds me of Mahler's equally undecided opening to the Ninth Sym. Beginning in half shadow like this poses a challenge to every interpreter, and Cooper has found a sensitive middle course, neither as aggressive as Richter nor as mannered as Uchida. Schubert didn't write his sonatas for virtuosos; much is to be achieved by knowing how to sing. Cooper does, although her voice isn't totally memorable as Pollini's is -- his lyrical line is totally compelling. In all fairness, not every pianist wants to be charismatic. Cooper invites us into a more intimate listening experience. I think the four Impromptus D. 935 need at least some charisma. Making my way through them, the Moments musicaux, and the German Dances that Cooper has selected became increasingly monotonous. She might have done better releasing one CD at a time rather than two.

Despite these reservations, I'd give this second installment a guarded four stars, with a special nod to listeners who want Schubert to be lulling rather than dynamic.
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