Thanks for the feedback.
The late Schubert sonatas, and perhaps the Gasteiner, are staple fare these days. But the earlier sonatas, which may be not as great but still very good, are woefully underrated. In the not so dim past, the sonatas were hardly known at all. I believe Rachmaninov once confessed not being aware that Schubert had written any sonatas at all....
Yes, I'd heard that about Rachmaninoff too. I think the impromptus were the main, and perhaps, only major works of Schubert studied at the conservatories in those days.
So it's good to have one of the lesser-known ones on the site. I know this one well and I can say you give a thoughtful and polished performance of it. There are many good things and not really any bad, certainly no technical faults that I could detect. You add a bit more romantic inflection than I would, but that's a valid choice.
Thanks for this.
Part of this overall impression is maybe that your accompaniments are a bit heavy and prominent. Schubert uses a lot of accompaniment figures, Alberti basses, repeated/alternating chords, and variations on these, and they should never get in the way of the melody.
Yes, definitely. Some of these need to be lighter.
There's really only one thing I can pick on and that is that it seems a bit earthbound. Schubert can be earnest, sad, soulful, lyrical, melancholic, but he can also be fleeting, unpredictable, defiant, mercurial, and exuberant (thought I'd throw in some nice adjectives, as is my style ), and that combination is what makes Schubert so unique and appealing. And that last aspect I miss a bit here, especially in the outer movements which could be a tad faster and livelier, more dancing and (in places) more impulsive. One example is the passage in mvt IV from 6:00 onwards which does not take flight as it should, but sounds rather cautious (this is a tricky bit alright).
You make interesting points here, but I'm not in agreement on some of them, particularly regarding tempo. I know some people play the outer movements faster but, after all, they're marked "Allegro Moderato" (IMO probably halfway in between an Allegretto and an Allegro). I think the moderato indicates that everything should be moderate, tempowise, character-wise, dynamics-wise, etc. Liveliness does not seem appropriate to me here (seems better applied to prestos in, e.g., Haydn). "Graceful" and "elegant" seem more appropriate to me (and I do think I need to do more here). Like Mozart, Schubert also displays elements of classical precision, particularly in these early works. It is for this reason that besides the application of subtle rubati in places, the overall tempo should, ideally, be exactly in time. I'm not quite sure what you mean by "taking flight," but I don't think this passage in Mvt. IV should gush or sound overly "exuberant." Schubert IMO hardly ever should. It's ever subtle and beneath the surface. One (and admittedly I could work even more on this) IMO makes one's points though subtle dynamic contrasts and attention to the harmonic variety and changes. Also, it's not that fleeting and mercurial can't be applied to Schubert, but they certainly aren't what I think of. They seem like more immediate descriptors of, e.g., Scriabin.
Something I forgot to mention. In the first mvt there are a couple of appogiaturas which are played too prominently, and thus hang in the air, unresolved. I though that sounded a bit strange. Taking them a bit lighter and more casual would resolve that. A very minor niggle, I admit
Yes, I agree they are too prominent, but I'm not sure what you mean by "hang in the air, unresolved."
Despite the slight reservation, this is a quality performance. I liked the Menuet best. If you do more Schubert I hope my comments are of some use to make it even better. Roll on the Viennese charm
Thanks again for the feedback. Interesting that you liked the Menuet best; frankly, I liked it least, but that's why it's always interesting to get another listener's perspective