Gerhard Oppitz’s 22-minute-plus timing for the Schubert B-flat D. 960 sonata’s first movement accounts less for slow tempos than for its fairly consistent tempo fluctuations, italicized phrasings, tenutos, sighing rests, stretched-out fermatas, and sundry expressive devices. By contrast, the steadier, more unified slow movement contains long sections of lovely, sustained lyricism. Oppitz underplays and slightly overpedals the Scherzo’s outer sections and treats the Trio’s quirky bass notes as if they were, well, unquirky! Like Arrau, Oppitz tentatively eases his way into the Finale’s basic pulse, taking its “ma non troppo” directive at face value (many pianists don’t read past “Allegro”).
In the Moments Musicaux, Oppitz effectively conveys No. 1’s asymmetrical phrase structure and mysterious transitions, while No. 2 is broad and expansive without sounding inflated. No. 3 communicates a rather held-back, self-conscious air. No. 4’s sedate pace allows Oppitz more wiggle room in regard to articulation, notwithstanding the draggy, ponderous Trio. Although No. 5 never approaches a true Allegro vivace, Oppitz’s performance gradually gains speed and urgency as it progresses. My description of D. 960’s first movement under Oppitz’s watch also applies to the Sixth Moment Musical. So far as D. 960 and D. 780 coupled on one disc, Oppitz easily surpasses Rangell (Bridge) and Pierce (MSR), yet ultimately I prefer Lazic (Channel Classics) and Kovacevich (EMI Great Artists of the Century) for their stylish simplicity and more incisive pianism. Why does Hänssler continue to reproduce Oppitz’s piano with murky resonance at a distant perspective?
