Review: Schubert - Maurizio Pollini, Daniele Pollini (2024)

I had expected this Schubert album by the late Maurizio Pollini and his son Daniele to have a more extensive feature of their collaboration, and was initially crestfallen to see that only one of the three works is a 4-hands piece. According to the booklet text, the inclusion of Schubert’s G Major sonata (D. 894) played by Maurizio and the 6 Moments Musicaux played by Daniele was the former’s idea: he had wished for their individual styles to come through before coming together. In hindsight, this makes sense and gives us one final solo piano recording from Maurizio before his passing, and a first in his discography.

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In a review of Pollini’s final attempt at the Hammerklavier Sonata, I had not found it to be his best output, and was earnestly hoping for something better here for the Piano Sonata (“Fantasie”) D. 894. There are certainly aspects to be praised; the clarity of Pollini’s voice leading in the hymnal first movement, or a stormy character that is well-embodied in the D minor section of the Andante (track 2).

Yet I wished for more subtlety in Schubert’s magical color changes. Although some character demarcations between major and minor are made clear, it’s the more nuanced shift that are not executed effectively. Another issue is the uneven treatment of textures, like the gentle galloping pattern in the left hand about 2 minutes into the first movement. But the biggest thing that’s lacking across the work is a true embodiment of the sonata’s spirit. The interpretation is too matter-of-fact, especially in comparison to Gregory Sokolov’s frightful suspense or Uchida’s masterful pianissimo coloring.

The six Moments Musicaux shows Daniele Pollini to be a distinctly different pianist, particularly in his drier articulation. Scaling back on the pedal certainly helps works like the opening C major Moment (track 5), whose playful, scampering segments are best captured in the staccato chords. He does, however, create fluidity where needed: the longer melodies have plenty of finger legato and sound satisfyingly smooth.

In the well-known F Minor Moment (No.3, track 7), the short notes have good clarity and spacing, which adds to the rhythmic spirit. There’s also emotional restraint that helps preserve the jaunty-yet-delicate profile of the work. For those wishing for a more captivating performance, though, turn to one of Alfred Brendel’s versions, where the tempo is brisker, the articulation even drier, but the nuanced verve proves delightful.

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The disc concludes with the F minor Fantasy for 4 hands. The Pollinis deliver a valid performance that speaks to seamless musical and artistic unity; there is appreciable vocal contouring in the more lyrical sections and expansive, symphonic sound qualities in the emotionally charged moments.

For anyone familiar with Pollini’s direct, often noble and sometimes cool disposition, the approach here would come as no surprise. I prefer Radu Lupu and Murray Perahia’s more engaging version, or Maria João Pires and Ricardo Castro for a touch of early romanticism and freer spirit.

I didn’t find the sound engineering a particular boon for the performances: perhaps the mic placement contributes to the rather removed quality I’d remarked upon earlier. While this is a wonderful familial tribute to a great artist, I only wish that the performances had done the occasion more justice.

Recommended Comparisons:

Schubert
Piano Sonata No. 18 (“Fansasie”), D. 894
Six Moments Musicaux, D. 780
Fantasia in F minor for piano 4 hands, D. 940
Maurizio Pollini – Piano (Sonata, Fantasie)
Daniele Pollini – Piano (Moments Musicaux, Fantasie)