A Lyrical Farewell on the Threshold of Death
Among Schubert’s piano sonatas, the three known as “Schubert’s Last Three Great Sonatas” (D 958, 959 and 960) are works of deep significance from the end of his life.
Written in 1828, a few months before his death, they are the product of a composer racked by illness who, in a very short time, produced the most profound masterpieces of his entire output. That alone is like a miracle.
Background
These works became known when the publisher Diabelli issued them in 1839 as posthumous works, dedicated to Schumann rather than to Hummel, as Schubert himself had intended. Their true worth was not recognised at the time. It was Artur Schnabel, famous in the 1930s as a specialist in the Viennese classics, whose efforts brought it to light.
Schubert idolised Beethoven. He was accepted in song, but in instrumental music he undeniably stood in Beethoven’s shadow. He made great efforts to surpass Beethoven and found a clue in these sonatas. Schnabel, too, kept this relationship in mind when he introduced Schubert’s music.
The Sonata D 960 closes his sonata output and is the finest of them all. Had he lived longer, even better music might have been born. Walter Georgii wrote in his book that this work is “the summit of Schubert’s piano music and the most beautiful work written since Beethoven.”
Where the two earlier sonatas follow Beethoven, this one perfects Schubert’s own form. And yet, even when it departs from Beethoven, it invites one to look at Beethoven once more. The rondo theme of the last movement is clearly related to the finale of Beethoven’s String Quartet No. 13, Op. 130, but its direction is different, because of Schubert’s essential lyricism. This is evident, too, in the deep sigh of the second movement, the Andante.
Schubert’s last masterpiece, the Sonata D 960, moves the listener, as sad as his short life.
The Recordings
First is the recording by Schnabel (EMI, 1939), who made the work known. It is an important performance of historical significance.
Next is Alfred Brendel’s loving interpretation. He left three recordings: 1971, a second in 1988, and a live recording in 2000, shortly before his seventieth birthday. All have a high degree of musical completeness, but the first, from the 1970s, is the most recommendable. It is the most contemplative and brings out a singing lyricism. The seriousness of the second movement makes it a masterpiece of stillness.
Imogen Cooper, Brendel’s pupil, is also astonishing. She recorded all of Schubert’s piano works from his last six years (1823–28) on six CDs. Her playing has a lyricism that surpasses her teacher’s, and its calm, careful, noble progress is deeply moving. The beauty of its plain tone is especially entrancing.
Alicia de Larrocha’s performance is almost unknown but shows astonishing skill. Its mystery, as if emerging from stillness, and the dark shadows that seem to press in, convey Romantic feeling deeply. It has not yet been issued on CD, which is a pity, but it must be mentioned as a first-rank recording.
Sviatoslav Richter takes the piece forward in bold strokes. It is somewhat lacking in lyricism, but there is a greatness that offers another kind of musical pleasure, and it is rated as a highly individual recording.
On period-instrument fortepiano there are recordings by Demus (Deutsche Harmonia Mundi) and Andreas Staier (Teldec, 1996); both are excellent.
Pollini (DG, 1983) is part of his set of the last sonatas; the set is significant, but the performance itself is disappointing. Lupu (Decca, 1991) and Kovacevich (EMI, 1994) are ordinary. Sokolov (Opus 111, 1992) has many merits but also shortcomings. Afanassiev (ECM, 1985) plays extremely slowly. Haskil’s (Philips, 1951) is rated as a mysterious, inspired performance.
There are countless others, including Schiff (Decca), Curzon (Decca), Kempff (DG), Horowitz (DG), Edwin Fischer (EMI), Uchida (Philips), Barenboim (Erato, 1992), Arrau (Philips) and Rubinstein (RCA).
Our Recommendation
Cooper, who gives the most ideal reading, and Brendel’s fine standard version are recommended. The individual performances of de Larrocha and Richter should not be missed, and on fortepiano, Demus and Staier.
Recommended Recordings
| Note | Performers | Label & Catalog No. | Rating |
|---|---|---|---|
| The finest on record | Imogen Cooper (piano) (1988) | OTTAVO 88821 | Performance ★★★★★ / Sound ★★★★ |
| Loving and superb | Alfred Brendel (piano) (1971) | PHILIPS 438 703-2 (2 CDs) | Performance ★★★★★ / Sound ★★★★ |
| A hidden, astonishing performance | Alicia de Larrocha (piano) (1981) | DECCA 7567 (LP) | Performance ★★★★★ / Sound ★★★★ |
| Russian breadth | Sviatoslav Richter (piano) (1972) | MELODIYA 69078 | Performance ★★★★★ / Sound ★★★★ |