You will begin by dismissing Andrew Rangell's performance of Schubert's Sonata in B flat major. His wayward tempo for the opening bars, his hesitant phrasing of the chorale theme, his uneasy rumble for the low trill: all these things suggest deep fatigue if not quite complete exhaustion. But, in spite of yourself, you will keep listening, drawn in by Rangell's shattered lyricism and broken drama. Because all of it comes from Schubert: the tempo, the theme, the trill, the lyricism, and the overwhelming drama, all of it flows ...
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You will begin by dismissing Andrew Rangell's performance of Schubert's Sonata in B flat major. His wayward tempo for the opening bars, his hesitant phrasing of the chorale theme, his uneasy rumble for the low trill: all these things suggest deep fatigue if not quite complete exhaustion. But, in spite of yourself, you will keep listening, drawn in by Rangell's shattered lyricism and broken drama. Because all of it comes from Schubert: the tempo, the theme, the trill, the lyricism, and the overwhelming drama, all of it flows ineffably from the spirit of the dying composer's final piano sonata. And ultimately you will come away from Andrew Rangell's performance convinced that you have at last truly heard Schubert's Sonata in B flat as if for the first time. Rangell's performance of the Moments Musicaux (6), although not in the transcendent league as the performance of the Sonata, is still full of profound feelings expressed through exquisite tonal beauty. Bridge's digital sound is a bit too warm and not...
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