At his best Wosner is capable of freshly illuminating these sonatas, which allows me to give an unhesitating recommendation. If I had to generalize, Wosner’s playing doesn’t lean too far toward the contemplative, although it’s certainly not as dramatic or Beethovenian as Rudolf Serkin’s Schubert. What’s most positive about Wosner is that his imagination is always working in the service of the music, which I always admire.

Wosner certainly has a way with Schubert’s scherzos. All four of them here...are light, beautifully articulated and fleet as the wind. They are filled with that almost indescribable echtAustrian folk naïvété on which so much of their charm relies...it may be that the G major Sonata, in its freshness and originality, is the highlight of the entire recording.

D845 here is a towering interpretation, Wosner’s absolute insistence on crisp, clean attacks a major factor. How unutterably intimate is the opening of the finale, subsequent contrasts brilliantly drawn. The great D960 is balm for the soul, notable for its thoughtfulness