Most Helpful Customer Reviews
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
Deeply felt, revealing Schubert from two thoughtful probing artists, 14 Jan 2009
As you will see from the title, I couldn't disagree more with my fellow reviewer - healthy debate is a good thing! The self-aggrandisement of which he/she or she accuses the artists is the last thing I've ever seen or heard from them, in numerous live concerts (including Winterreise) as well as on disc. Pregardien in particular couldn't be more personally diffident. They both strive to serve the music, they think through what they do from scratch, it isn't necessarily what others do and by the time they make a disc they have thoroughly tested their interpretation live. Of course you don't have to like it, but the integrity is impeccable. You won't like this recording unless you think that Schubert set out to sear nerves when he wrote the music. I think he did and I find this performance a revelation. Pregardien's heartfelt interpretation of the text is superb. The balance of voice and fortepiano means that the accompanist is unchained, and free to express the full range of Schubert's effects. This is a revelation in itself - almost all accompanists seem to hold back in comparison (notable exceptions are Britten and Reimann, who manage to be bold and free despite their larger voiced instruments). And Pregardien and Staier's ensemble (emotional as well as technical) as a genuine chamber group couldn't be bettered. One of my favourite Winterreise recordings.
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1 of 4 people found the following review helpful:
2.0 out of 5 stars
Technically flawless, but artisitically flawed., 5 Nov 2008
Discussing Sviatoslav Richter's revelatory performances of the late Schubert sonatas, Glenn Gould observed that he saw artists as being divisible into two broad categories. In brief, the first of Gould's groups saw their job as drawing attention to their instruments and to their own technical facilities; the second concentrated on dedicating their skills to revealing the music (Richter was Gould's preeminent example of the latter).
Unfortunately, this performance seems to sit squarely in the first of Gould's two groups. Technically flawless, both in terms of the exceptional skills of the performers and the quality of the recording, there is, however, a woeful surfeit of what I can only call 'effects'. There are too many examples of odd bursts of inappropriate fortissimo or pianissimo singing, self-conscious changes in tempo, or bizarre pianistic effects - like the spreading of chords that should be taken whole; a residue, perhaps, of Staier's harpsichord playing.
The overall sense is that these artists were striving to do something new and memorable with the work, which is all very commendable in its way. And they certainly do succeed in creating some memorable moments, although not perhaps for the reasons they had intended. There is simply too much of them in this performance, and not enough of Schubert. In one word, it's mannered, and I find that both pointless and unforgivable.
Like Sir Peter Hall's 1990s stage production of Hamlet, in which everyone wore ridiculous red costumes and Hamlet stripped naked to show that he was mad, this is all about the performers. Far too often, in spite of Pregardien's wonderful diction and awesome technique, I was left with the impression that the words and music were only there as a vehicle for his self-aggrandissement. Likewise, Staier's technically stunning playing seemed too often bent on highlighting itself. So just two stars, for the technical perfection.
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