William Youn has been establishing a growing international reputation as a “genuine poet” of the piano (as one critic eloquently put it). His recording of Mozart’s complete piano sonatas for Oehms Classics has received particular and extensive critical acclaim, and now he brings us his debut recital disc for major label Sony Classical.
“Since my youth I have been fascinated by sonata form and, over a period of some forty years, all the programmes I have performed have been centred on works in that form. Therefore this book is a labour of love as much as, hopefully, a useful guide to some of the most marvellous music ever conceived.”
So writes Michael Davidson of his superb book The Classical Piano Sonata, which has since its publication in 2004 become something of a classic itself, and an indispensable guide for every serious pianist and music-lover.
Let’s take a closer look at the book, and evaluate what it is which makes it such an essential addition to the pianist’s library…
“Easy” collections of the core classical piano repertoire abound, but few bring to the table the depth of scholarship, reliable editing, fingering and expert advice found in the recent (and ongoing) “Urtext Primo” series.
As the latest collection in the series – featuring the music of Clementi, Czerny and Cramer – hits the shelves of music stores worldwide, let’s take a look …
20th March 1989 is embedded in my memory as the evening on which I attended one of the most magical classical piano recitals!
Although I was seated in the balcony, and towards the back of London’s Royal Festival Hall, I could just as well have been sat in the front row, such was the silent rapture of the audience. In semi darkness, lit by just one small lamp, the legendary Sviatoslav Richter quitly took to the stage and opened the recital with the hushed tones of a simple but fully-fleshed G major chord.
At this point in his career, Richter had given up announcing his programme – which didn’t stop tickets for his recitals from selling out within minutes of going on sale. But that opening chord was sufficient to announce to the pianophile audience that we were about to be served a very special musical treat:
Schubert’s magical “Fantasy Sonata” in G major, Op.78, D.894.
In Richter’s hands, this joyous work took on a new dimension – and not least because of his controversially slow interpretation of the first movement, lasting a full 25 minutes (compared to the more usual 15 – in Wilhelm Kempff’s recording this movement lasts just 10’54”, albeit omitting the repeats).
While I love Schubert’s Sonatas as a whole, the G major is perhaps even more dear to me than the others because of this much-treasured memory. So I was delighted when the brand new Bärenreiter Urtext edition dropped onto my door mat for review …