SCHUBERT Fantasies: in C, “ Grazer”; in C, “Wanderer.” 3 Klavierstücke, D 946. Variations on a Theme by Hüttenbrenner • Michael Endres (pn) • OEHMS...

SCHUBERT Fantasies: in C, “ Grazer”; in C, “Wanderer.” 3 Klavierstücke, D 946. Variations on a Theme by Hüttenbrenner • Michael Endres (pn) • OEHMS 731 (73:31)


Michael Endres, one of today’s leading German pianists, received his early training in Munich and then at Juilliard with Jacob Lateiner. He has won prizes in numerous competitions, including the International Schubert Competition in Dortmund, and his recordings include impressive accounts of the complete piano works of Ravel as well as a fine three-CD survey of Schumann’s works. I have not yet heard his complete sonatas of Mozart and Schubert (the latter on a six-CD set for Capriccio), but this disc makes me eager to do so. Here, his unforced playing and engaging musicality make him a perfect Schubertian. The “Grazer” Fantasy, probably written in 1818, is a lovely work that was not discovered until 1962. It opens and closes with an original and lyrical idea, some components of which get used in the substantial central polonaise. The textures are varied and the writing includes some virtuosic passages. Endres is a most persuasive advocate of this work, responding to its mood swings and holding the episodes together in a seamless manner. The rarely heard Hüttenbrenner Variations , also from around 1818, is of less interest, for the writing tends to be formulaic and lacking in character. Endres plays it intimately and sympathetically.


The Klavierstücke are among Schubert’s last works, and they are technically challenging and often musically arresting. In the first, Endres plays with real urgency without forcing his sound, and the contrasting material is ethereal, as if composed without bar lines. Beautiful balances and noble sentiment characterize the second, which is musically and pianistically the most original of the set, with its highly dramatic episode. And I like the way he eases into No. 3 and lingers a bit during the lovely Trio section; the final page couldn’t be more exciting. Endres’ subtle interpretation is on a par with the excellent ones by Uchida and, more recently, Perianes.


There are many very fine recordings of the great “Wanderer” Fantasy—by Curzon, Richter, Pollini, Brendel, Perahia, and Kissin, among others—and Endres’ belongs to that elite group. He has the technique to vary his sound, even during the most intense and loud passages; and in the more lyrical moments he plays with a flexibility that seems just right, never exaggerated. His left-hand octaves are equal to anyone’s in the notorious passage near the end of the first section. The slow variations flow with unusual continuity and control of texture. The tight rhythms of the Scherzo are contrasted with perfect ease in the Trio. The finale benefits from a less clangorous approach than usual, making the brilliant closing pages all the more welcome. Here, as in the demanding conclusion of the Scherzo, he takes no prisoners, and the playing is immensely exciting. I look forward to hearing this fine pianist’s survey of Schubert’s sonatas and to his hoped-for recording of the eight impromptus.


FANFARE: Charles Timbrell


The sensitive, refined, and somewhat understated qualities of Michael Endres' 1990s Schubert sonata cycle released on Capriccio similarly inform these 2008 recordings. He plays down the dynamic surges, hurling accents, and dramatic contrasts others have brought to the D. 946 triumvirate, focusing instead on tonal beauty, sophisticated pedaling, and melodic strands that often remain buried within accompaniments.

Those who seek virtuosic power from the Wanderer Fantasy's daunting keyboard challenges might complain that Endres scales down the work's monumental dimensions, and indeed, he sounds relatively small-scaled next to Richter, or even Perahia. Yet Endres' technical aplomb allows him to keep an even keel throughout the finale's unwieldy textures and to play the first section's rapid octaves absolutely in tempo, as written.

In addition to his poetically phrased and thoughtfully unified Hüttenbrenner Variations, Endres shines best in the Grazer Fantasie. The central Alla Polacca's salon-like patterns charm and scintillate, as do the finale's shimmering scales. It contrasts to bigger-boned, more overtly urgent interpretations (Peter Rösel, for example, or Lili Kraus' superb world-premiere recording once available on a Columbia/Odyssey LP). If you fancy intimate Schubert playing, give this disc a try.

--Jed Distler, ClassicsToday.com