シューベルト: 後期ピアノ・ソナタ集

イスラエル出身の天才シューベルティアン!
シャイ・ウォスネルが弾く晩年のピアノ・ソナタ!

1976年イスラエル出身のエリート・ピアニスト、シャイ・ウォスネル(ウォスナー)は、1999年のエリザベート王妃国際コンクールで第4位入賞を果たし、2005年に権威あるエイヴリー・フィッシャー・キャリアー・グラントを受賞。2008年にNHK-BSで放映されたバレンボイムのマスタークラス参加で一気に注目が高まった逸材。

これまでも、シューベルトのピアノ・ソナタ集(ONYX 4073)、シューベルトとマッツォーリの作品集(ONYX 4136)などのシューベルト・アルバムを録音し、英グラモフォン誌や英BBCミュージック・マガジンから素晴らしい「シューベルティアン」として評価されるなど、世界の偉大なシューベルト弾きの一人として評価を確立したシャイ・ウォスネルが弾くシューベルト晩年のピアノ・ソナタ集。
東京エムプラス

Pianist Shai Wosner has built a reputation as a Schubertian. He groups the last six piano sonatas as late sonatas, and he backs this unusual concept up with detailed readings of the first three; the Piano Sonata No. 16, D. 845, and Piano Sonata No. 18, D. 894, come out here as smaller in scope but no less impressive in workmanship. Wosner has played these four sonatas in concert a good deal, and he has a kind of flexibility in them that makes his readings feel slightly improvisatory; he can pursue a point of interest at the local level and work his diversion back into the larger structure. The most distinctive feature of his readings overall is their quietness, their spirituality. Wosner calls the sonatas symphonies for the piano, and his readings have a temporal scope consistent with that idea, but he keeps the dynamic levels low. His Schubert piano sonatas are works written not for the concert hall, but instead for the composers circle of friends and cognoscenti. He applies power mostly to bring out local details, even in the Piano Sonata No. 19, D. 958, the most Beethovenian work in the cycle. The heavenly length of the Piano Sonata No. 21, D. 960, is variegated enough throughout to live up to Wosners assertion that Schubert cannot possibly be too long. This is wonderful, subtle Schubert, recorded by Onyx at the superbly appropriate American Academy of Arts and Letters.