Still underestimated around 1900 as the sociable, unassuming, light-hearted composer of dances and art songs, the common image of Schubert was changed by thinkers and interpreters such as Theodor W. Adorno and Alfred Brendel after the Second World War. Now Schubert’s torn character was...more
"Chiao Ying Changs schlichte, aber seelenvolle Lesart der Impromptus D 935 und 899 mag überraschen und faszinieren. Dabei treibt sie in Agogik und Tempo unentwegt eine zarte Kraft, die zum Zuhören und Mitgehen zwingt." (Piano News)
Still underestimated around 1900 as the sociable, unassuming, light-hearted composer of dances and art songs, the common image of Schubert was changed by thinkers and interpreters such as Theodor W. Adorno and Alfred Brendel after the Second World War. Now Schubert’s torn character was discovered, as well as his self-destructive complexes and struggles with Metternich’s repressive politics. Many fragments and sketches make clear just how hard Schubert fought for his independence from the father-figure of Beethoven. Schubert’s Impromptus are also to be classified in this connection. They were not composed as fantasies or improvisations, as the name might imply; rather, Schubert doubtlessly sought alternatives to Beethoven’s type of sonata with these works.
His Impromptus, D. 899 were written in 1827. They open with a reserved march with variations; as a contrast, there follows a sparkling perpetuum mobile with a strikingly marked middle section. The third piece produces a dream-like atmosphere with its arpeggios out of broken chords and the finale is an Allegro scherzando with downwardly swooping cascades of notes requiring considerable technical elegance from the pianist.
Schubert composed his Impromptus, D. 935 during the same year. The beginning is notable for its abrupt contrasts, impetuous dynamics and forward-pressing movement, only absorbed and cushioned by the following Impromptu in A-flat major. This is one of Schubert’s best-loved works, with its easily remembered song-like melody. The third piece adapts the theme from the incidental music to Rosamunde in five contrasting variations; Schubert had also used this theme in the String Quartet in A minor. The finale is a dance-like tune ending with a furious stretta.
The Taiwan-born Chiao Ying Chang was already winning international prizes during her student years in London. She won the Royal Academy Prize in 1998 and 1999, second prize at the International AXA Competition in Dublin in the year 2000 and a special award at the World Piano Competition. Chiao Ying Chang has performed with important orchestras such as the National Irish Symphony Orchestra, the National Orchestra of Taiwan and the San Francisco Symphony Orchestra. She has undertaken concert tours in Taiwan, England, Ireland, the USA, Germany and Italy.
Stylish readings of familiar Schubert works by Taiwan pianist<br /> <br /> The youngMehr lesen
In Schubert's oft-recorded Impromptus, young Taiwanese pianist Chiao-YingMehr lesen
Und noch eine CD mit den Impromptus, diesmal im SACD-Verfahren: Eine herrliche Aufnahmetechnik liefert eine pianistische und klangliche Präsenz, wieMehr lesen
Den nachhaltigsten Eindruck hinterlässt bei dieser SACD das Klangbild: BeiMehr lesen
Bei aller romantischen Überladung der Schubert’schen Klaviermusik imMehr lesen