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Schubert: Piano Sonatas Vol. 7

Barry Douglas (piano)

Schubert: Piano Sonatas Vol. 7
His default style is a slightly austere transparency, and it’s often exquisitely poetic. And so it is with the first sonata on this release. This congenial work, composed in 1817, asks for a...

Schubert: Piano Sonatas Vol. 7

Barry Douglas (piano)

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His default style is a slightly austere transparency, and it’s often exquisitely poetic. And so it is with the first sonata on this release. This congenial work, composed in 1817, asks for a...

About

Barry Douglas’s acclaimed survey of Schubert’s piano sonatas continues with this programme pairing the Sonata in E flat major, D 568 with the Sonata in G major, D 894. Published posthumously, the E flat major Sonata is a revision and completion of the D flat major Sonata, D 567. The original was written in June 1817, the revision soon afterwards. This sonata stands out in the canon for its light-hearted, easy-going character in contrast to the more serious nature of the other sonatas. The G major Sonata, the last to be published in Schubert’s lifetime, was completed in 1826. The work holds a special place for many pianists, including Imogen Cooper, Sviatoslav Richter, and Paul Lewis; the latter two have declared it their favourite, whilst Robert Schumann described it as ‘the most perfect in form and conception’ of any of Schubert’s sonatas. Douglas completes his programme with two Liszt transcriptions of Schubert songs: ‘Gretchen am Spinnrade’, and ‘Wohin?’ (from Die schöne Müllerin).

Contents and tracklist

I. Alegro moderato
Track length9:49
II. Andante molto
Track length6:14
III. Menuetto. Allegretto - Trio
Track length5:14
IV. Allegro moderato
Track length8:45
I. Molto moderato e cantabile
Track length18:34
II. Andante
Track length8:51
III. Menuetto. Allegro moderato - Trio
Track length4:10
IV. Allegretto
Track length8:32

Awards and reviews

January 2025

His default style is a slightly austere transparency, and it’s often exquisitely poetic. And so it is with the first sonata on this release. This congenial work, composed in 1817, asks for a particularly light touch. And Douglas gives it that – to the point where one might almost be listening to a fortepiano.
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