Schubert: Piano Sonatas D. 784 958 Philippe Guilhon-Herbert

• 1 I. Allegro 12:22
• 2 II. Adagio 09:16
• 3 III. Menuetto (Allegro) 04:09
• 4 Piano Sonata No. 19 in C Minor, D. 958: IV. Allegro 11:31
• 5 IV. Allegro scherzando in F Minor 06:59
• 6 I. Allegro giusto 14:01
• 7 II. Andante 04:47
• 8 III. Allegro vivace 05:23
• Total Runtime 01:08:28

Info for Schubert: Piano Sonatas D. 784 958

Schubert’s last sonatas, which were composed between February 1823 (D784) and September 1828 (D958 through 960), created a new world in the pianistic landscape that would however disappear following the composer’s untimely death. They display a strong Beethovian influence, as evidenced by the two great Sonatas on this album, in C Minor (D958) and A Minor (D784).

The slow movement of D958 is reminiscent of the rhythmic figures and harmonic progressions that were staples of Beethoven’s writing (e.g. Sonata Pathétique and even his Fourth Symphony). Through the initial chords of the work, Schubert evokes his elder’s lead-ins, with their radiant affirmation of the main tonic. The marvelous Finale, of exceptional scope and intensity, would have been in the form of a Beenthovenesque perpetual movement, much like the angry Finales of Tempest or Appassionata, had Schubert not punctuated it with unforgettable moments of reverie, as if they were meditations from a territory into which Beethoven himself never wandered in perpetuum mobile. As to the initial movement of D784, the listener is astounded by the theatrical and almost explosive nature of its writing: Beethoven is still present, although this time Schubert attempts to hide the similarity - however obvious - with the first movement of the Sonata No. 22 (Op. 54) by the Master from Bonn.

However, Schubert’s universe also distills a dark, more anxious expressiveness. This character, very typical of the young Viennese composer, is also accompanied by an unshakeable tranquility in the movements, heralding in more ways than one the great Brucknerian endeavors of the late century – notably the slow movements of the 6th, 7th, or 8th Symphonies.

To label these sonatas with a truly Schubertian fluidity, especially the great and complex D958 Sonata, would mean to square the circle. Getting rid of the ghost of Beethoven at all cost, exposing its intrusions, or even opting for a constant tempo in the Finale are all parts of a creative choice that is fully in line with the oneiric spaces of Schubertian poetics. To listen, to take time to notice the most minuscule of variations of a sonic texture that is perfectly balanced, yet always on the edge: Such is the magic of Schubert.

On his somptuous Steingraeber piano with its gleaming reflections and soft mid-range, Philippe Guilhon-Herbert perceives the Sonata in C minor as a vast, uniterrupted flight of soaring lyricism. The French pianist never slacks off the tension thread, and his Finale, utterly faithful to the sheet music up to the tempo giusto that is so tricky to figure out with Schubert), remains above all a meditative ballad rather than a race haunted by the Erlkönig. Moreover, Philippe Guilhon-Herbert savors the great, astonishing diversity of climates in the Sonata in A minor (D784). His interpretation is both natural and dramatic, even violent at times, which is perfectly suited to the first movement.

Schubert’s piano sonatas long remained misunderstood. It is only during the first half of the 20th century that the initial and memorable heralds of this universe emerged, such as Arthur Schnabel (1882-1951), Wilhelm Kempff (1895-1991), or even the prodigious - though slightly forgotten nowadays - Eduard Erdmann (1896-1958). Then came the next generations with Richter, Lupu, Brendel, Egorov, and Schiff, who revealed these extraordinary sonatas to a wider audience for good.

Playing Schubert still remains a challenge. As Philippe Guilhon-Herbert notes, “Schubert’s art is elusive, supreme in its might as in its delicacy.It requires incomparable depth, purity, and sincerity.”

It is hence as a complete, mature musician that Philippe Guilhon-Herbert stands before Schubert today.

Philippe Guilhon-Herbert, piano

Recorded at Paris, Temple Saint-Marcel (France), 12th & 13th June 2013
Executive & Recording Producer: Pierre-Yves Lascar
Sound engineering, mixing and mastering: Nikolaos Samaltanos
Editing: Philippe Guilhon-Herbert & Nikolaos Samaltanos

Philippe Guilhon-Herbert
has studied with Michel Béroff, Jean-Francois Heisser and Denis Pascal. He was awarded first place distinctions in piano, chamber music and collaborative piano from the Musikhochule Freiburg in Breisgau as well as at the Conservatoire Superieur de Paris.

Also a recipient of a prize from the Academie Internationale Maurice Ravel in 1997, he has performed at the Salle Cortot, the Bastille Opera (Amphitheatre), the Theatre de Poissy (both Chopin concertos) the Debussy Museum, the HDK de Berlin and at the Mozarteum in Salzburg.

Drawn to contemporary music, he has played works by Michael Levinas and Jonathan Harvey, among others, with the Philharmonic Orchestra of Radio France, the Lyon Opera and the Orchestre de Suisse Romande.

His discography includes an award-winning recital of Mélodie by Poulenc which was chosen for a prize by the Academie du disque lyrique, as well as a recording with the cellist Alain Meunier which will be released in the Fall of 2008 by Saphir.

In demand as a collaborative pianist he has worked with many singers, particularly in the domain of the German lied and the french Mélodie, and possesses a broad experience as a vocal coach. He has also delved into the creative realm; composition and improvisation for short films as well as music arrangement and orchestration.

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