Schubert Piano Sonata No. 21 in B-flat Major D. 960 | Rachel Naomi Kudo, Piano

Franz Schubert (1797-1828) Piano Sonata No.21 D960 in B-flat major (1828) January 5, 2021 ~~ 0:09 I. Molto moderato 19:35 II. Andante sostenuto 30:54 III. Scherzo. Allegro vivace con delicatezza 34:54 IV. Allegro ma non troppo ~~ Schubert’s Piano Sonata in B-flat major, D. 960 is one of his final compositions, written in 1828, just a few months before his untimely death at the age of 31. The work is a towering masterpiece of introspection, lyricism, and transcendence. Dedicated to his close friend and patron Josef von Spaun, it reflects both a sense of profound beauty and a deep awareness of mortality. This sonata holds a special place in the lineage of pianistic interpretation, particularly in the artistic legacy of Artur Schnabel and his student Leon Fleisher. Schnabel, one of the 20th century’s greatest interpreters of Schubert, sought to convey music as an expression of “great ideas,” focusing on the emotional and structural depth of a composition rather than its surface brilliance. His deep understanding of Schubert’s music influenced Fleisher, who carried this tradition forward with a rare combination of insight, intellect, and poetic intensity. Fleisher often emphasized the spiritual nature of music, believing that Schubert’s late works, particularly this sonata, offered a profound meditation on life and mortality. The opening movement (Molto moderato) begins with a mysterious bass trill that resonates like a tolling bell, setting the tone for a vast and lyrical exploration of themes that seem to float between time and eternity. Despite moments of warmth and tenderness, there is a constant undercurrent of fragility, as if each phrase might dissolve into silence. The second movement (Andante sostenuto), in the remote key of C-sharp minor, is one of Schubert’s most poignant slow movements. Its solemn, hymn-like theme suggests a deep, inward meditation, occasionally breaking into moments of dreamlike beauty. Time seems to stand still as the music alternates between despair and consolation, embodying Schubert’s singular ability to merge sorrow and serenity. The Scherzo (Allegro vivace con delicatezza) offers a playful contrast, its light and nimble dance providing a brief respite from the somber atmosphere of the previous movements. However, the shadow of mortality is never fully dispelled, and hints of melancholy subtly weave through the lively textures. The Finale (Allegro ma non troppo), with its songful themes and gently flowing motion, is both wistful and affirming. Schubert ends not with a grand gesture but with a quiet, bittersweet farewell, as if offering a final glimpse of peace before the music fades into eternity. These program notes are dedicated to Leon Fleisher and Artur Schnabel, whose profound artistry and dedication to Schubert’s music have left an enduring legacy and indelible mark on generations of musicians. Fleisher recorded this sonata twice in his life: in his early years and again in his later career on the “Two Hands” album. Both recordings reveal his deep spiritual connection with this music throughout his life. As one of Leon Fleisher’s last students, I consider it a lifetime and great privilege to have learned from him. His deep reverence for music and unrelenting search and pursuit for truth continue to inspire and guide my journey with this extraordinary work. © 2025 Rachel Naomi Kudo ~~ Engineer: Federico Furlanetto Piano Technician: Massimiliano Pinazzo ~~ 🎵J.S. 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