Alfred Brendel Dispenses the Wisdom of a Lifetime’s Immersion in Schubert’s Music

09/01/2017

Alfred Brendel Lecture – Schubert’s Last Sonatas: Wigmore Hall, London, 7.1.2017. (CC)

brendel

Alfred Brendel at Schubert’s Grave

Part of the “Wigmore Hall Learning” series, this fascinating lecture of just over an hour’s duration is part of a series of three lectures Brendel will give at this venue: “Beethoven’s Last Sonatas” follows on on June 3, while “On Playing Mozart” concludes the mini-series on July 8.

Although now retired from the concert platform, Brendel did play brief examples from the repertory under examination. Complete movements came from recordings (by himself, one assumes, including one which included tumultuous applause that found Brendel gesticulating wildly for it to be cut off). As a lecturer, Brendel is articulate and engaging; the packed audience seemed to lap up his pearls of wisdom. In some circles it has been a cliché to refer to Brendel’s playing as “too academic”. He has always been a great musical thinker – I remember the impact Musical Thoughts and Afterthoughts had on me as a teenager – and this lecture just confirmed the depth of his insights. A specific aspect of Musical Thoughts and Afterthoughts which found an echo here was the identification of orchestral instrument sonorities in the slow panel of D958.

The lecture was recorded, so one hopes it will see the light of day at some point: a summary such as this can do Brendel scant justice. After a markedly affectionate welcome from the audience, Brendel focused on Schubert’s late trilogy of sonatas, quoting Schoenberg in 1928 on Schubert’s originality and highlighting the way this music had slipped into relative obscurity, with only a handful of adherents (Schnabel and Erdmann, for example). Emphasising that the three Schubert sonatas of 1828 form a trilogy, published eleven years after Schubert’s death, Brendel sought out connections in the music while also honouring the extrovert, sometimes explosive nature of this music. To that end, he gave us the sudden eruptions of these sonatas as well as referring to that bass B-flat trill in D960 as the “disclosure of a new dimension”. As Brendel put it, these works are not only structures, but characters.

The question of repeats, too, was squared up to, Brendel quoting the example of Dvořák repeats as a time where perhaps they are best omitted. The works outside of the trilogy Brendel spoke of were often well-known but always prescient: Erlkönig, the Schubert String Quintet, Beethoven’s C-minor Variations. But it was in his turn of phrase that the most cherishable moments lay: the “melancholy clairvoyance” of the slow movement of D960 being a case in point. Brendel believes, correctly, that these final three sonatas should be performed together in one long but unforgettable evening.

Brendel’s mode of discourse includes flashes of his well-known wit as sparks within a delivery that oozes the wisdom of a lifetime’s immersion in this music. One waits with some impatience for the next instalment.

Colin Clarke

Print Friendly

Comments

Leave a Reply

Recent Reviews

Facebook-button-1

Season Previews

__________________________________
  • NEW! Leeds Lieder’s Forthcoming Schubert Song Series in Leeds and Sheffield __________________________________
  • NEW! Svetlana Zakharova and Bolshoi Stars Bring Amore to the London Coliseum in November __________________________________
  • NEW! Tom Green and Carol Ann Duffy’s The World’s Wife Premieres on 15 October in Cardiff __________________________________
  • UPDATED! English National Ballet’s 2017 – 2018 Autumn/Winter Season __________________________________
  • NEW! Contemporary Music from Manchester’s Psappha in 2017-18 __________________________________
  • NEW! I Musicanti’s ‘Alexandra and the Russians’ at St Johns Smith Square, 2017-18 __________________________________
  • NEW! The 2017 Oxford Lieder Festival – The Last of the Romantics __________________________________
  • NEW! Anna Netrebko and Yusif Eyvazov’s Return to London in May 2018 __________________________________
  • NEW! St John’s Smith Square announces its 2017/18 Season __________________________________
  • NEW! The Pierre Boulez Saal’s 2017/18 Season in Berlin __________________________________
  • NEW! Birmingham and Beyond: Ex Cathedra in 2017/18 __________________________________
  • NEW! The Glyndebourne Opera Cup and Glyndebourne in 2018 __________________________________
  • NEW! The City of Birmingham Symphony Orchestra’s 2017/18 Season __________________________________
  • UPDATED! English National Opera’s 2017/18 Season __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! What is the Critic’s Job? A Review of A. O. Scott’s Recent Book __________________________________
  • NEW! English Music Festival in Yorkshire Lifts the Lid Off an English Treasury __________________________________
  • NEW! Opera Philadelphia’s Inaugural O17 Festival __________________________________
  • NEW! A FULLY STAGED PILGRIM’S PROGRESS IN ORLEANS, MA __________________________________
  • NEW! JIŘÍ BĔLOHLÁVEK (1946-2017) AND THE CZECH CONDUCTING LEGACY __________________________________
  • NEW! JUSTIN DOYLE DISCUSSES MONTEVERDI WITH MARK BERRY __________________________________
  • NEW! Katie Lowe Wins the 2017 Elizabeth Connell Prize __________________________________
  • NEW! Opportunity for a Rare Composition Masterclass with Gavin Bryars in April 2018 __________________________________
  • NEW! ITINÉRAIRE BAROQUE 2017: TON KOOPMAN TALKS TO COLIN CLARKE __________________________________
  • NEW! The Royal Opera House in Mumbai is Restored to its Former Glory __________________________________
  • NEW! iSING! – International Young Artists Festival in Suzhou, China __________________________________
  • Archives by Week

    Archives by Month

    Search S&H