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Product Description
BBC Music Magazine, (David Nice), February 2010
(5 stars) Imogen Cooper is second to none in Schubert...spellbinding...a little touch of heaven.
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:Audio CD
I attended all of this cycle live, and thoroughly enjoyed it. What has impressed me is the perfection of the playing even when close miked. She gets a gorgeous tone from the piano. The odd cough which distracted during the performances is barely audible. Cooper has more than taken on the Brendel mantle and she is clearly a member of his "school" of playing, if one can talk about such a thing - along with the younger Lewis and Fellner. This is wonderful playing and this set (2) and the other two that have the other post 1822 pieces - (1) and (3) - are of the same very high quality. These are now my preferred recordings.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3 reviews
11 of 13 people found the following review helpful
The Finest Living Schubertian I Know
5 Feb 2010
Format:Audio 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.
2 of 2 people found the following review helpful
Artistry of the first rank
27 Aug 2011
Format:Audio CD|Amazon Verified Purchase
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.
4 of 5 people found the following review helpful
Cooper is always musical and enjoyable but not compeling
10 Dec 2009
Format:Audio 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.
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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