![]() Above all, Zimerman uses his deep understanding of the architecture of each movement to make these special performances. At the same time it's full of feeling but never muddy warm and colored yet lacking in superfluous emotional overlay. Zimerman's playing is crisp but never trite incisive without insistence precise but shot through with personality and spontaneity. That is, on the cusp of the Classical and Romantic eras. A couple of listens reveals a depth and sense of sonority which put these great works exactly where they belong. The overtones are richer and yet may suggest an unfamiliar tuning. This takes less getting used to than you might think. ![]() This allows for a more sustained "singing" sound and a lighter one. The hammers strike a different part of the strings. And the emphases are gentle and unobtrusive. There is greater percussiveness for sure. On this outstanding CD from DG, Polish virtuoso Krystian Zimerman gives trenchant, poignant and technically brilliant accounts of D959 and D960 using a conventional piano fitted with a keyboard which he designed and built himself so as to sound more closely like one which Schubert would have known and so presumably more capable of obtaining the sound for which he composed. They were composed between the spring and autumn of 1828. Not published until ten years after Schubert's death, the three late piano sonatas (D958, 959 and 960) are the composer's last major works for piano.
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