"Yehuda Inbar’s debut recording reveals an intriguing, deeply intelligent and sensitive pianist. He follows a tellingly restrained reading of the single, abruptly curtailed movement of Schubert’s F sharp minor Sonata, D571, with an equally intimate account of the dark-hued Reliquie Sonata, D840, here completed by Michael Finnissy’s third and fourth movements, Vervollstandidung von Schuberts D840, which probingly and touchingly meld the two stylistic worlds.  To end, there’s Jorg Widmann’s Idyll und Abgrund, a set of fascinating Schubertian refractions."

The Sunday Times

***** 5 tuning forks on the French Diapason, translation will follow soon!

 

"Es ist bemerkenswerter Umstand, dass Franz Schubert bei seinem frühen Tod neben seinem vollendeten Klaviersonaten fast die gleiche Anzahl an Sonatenfragmenten hinterlassen  hat. Werden derartige Fragmente vervollständigt, so strahlen diese oft den Reiz aus, einen Einblick in Sphären zu ermöglichen, die der Komponist nicht verwirklichen konnte. Auf der vorliegenden CD wendet sich der Pianist Yehuda Inbar genau diesem Repertoire zu. Mehr noch: In seinem Auftrag hat der Komponist Michael Finnissy Schuberts Fragment D 840 Reliquie um zwei Sätze ergänzt und dabei erhaltene Bruchstücke des Meisters geschickt eingearbeitet - die vorliegende CD ist die Erstanspielung dieser Vervollständigung. Mit seiner Interpretation erweist sich Yehuda Inbar als meisterhafter Schubert Interpret. Sein gefühlvoller Anschlag gepaart mit exzellenter Agogik und Phrasierung erwecken de Flügel regelrecht zum Singen, was nicht nur Schuberts Musik im schönsten Licht erstrahlen lässt, sondern zu-gleich den Hörer nach nur wenigen Tönen an Inbars Spiel fesselt. Mit Widmanns Schubert-Reminiszenzen überzeugt der Pianist ebenso als Interpret zeitgenössischer Werke. Der ausgesprochen wärme farbenreiche Ton des für die Einspielung verwendeten Bechstein-Flügels ermöglicht zudem einem Höreindruck, der abseits der Gewohnheiten liegt und geht eine einzigartige Symbiose mit dem Interpreten ein. Eine in allen Details vorbildliche Aufnahme."

Bernd Wladika, Pianonews Magazine September 2019

"Yehuda Inbars interessante Schubert-CD

Franz Schubert: Klaviersonaten D. 571 & D. 840 (Reliquie); Michael Finnissy: Vervollständigung der Schubert-Sonate D. 840; Jörg Widmann: 6 Schubert-Reminiszenzen Idyll und Abgrund; Yehuda Inbar, Klavier; 1 CD Oehms Classics OC1712; Aufnahme 10/2018, Veröffentlichung 10/05/2019 (71'36) – Rezension von Remy Franck

 

Zwei unvollendete Sonaten von Franz Schubert stehen auf dem Programm dieser vom Konzept her sehr originellen CD, die Sonate D. 571, von der es nur einen Satz gibt, ein Allegro moderato, sowie die als ‘Reliquie’ bezeichnete C-Dur-Sonate D. 840, deren innovativen Charakter der junge israelische Pianist Yehuda Inbar wunderbar unterstreicht. Im ersten Satz erklingt die Musik zupackend, mit ihrer ganzen Kraft, und im Andante trägt die aparte Rhythmik zum modernen Charakter des Stücks bei, über das Guy Wagner sagte: « Man kann verstehen, dass Schubert selbst vor so viel erschreckend Neuem plötzlich nicht mehr weiter wusste und das Werk auf die beiden Sätze Moderato und Andante beschränkt hat. » Doch Inbar wollte wissen, wie der geplante Rest der Sonate ausgesehen haben könnte. Er beauftragte den Briten Michael Finnissy (*1946) mit einer Vervollständigung der Sonate D. 840. Dieser setzte die Novität der Sonate noch radikaler um, in einem rhythmisch prägnanten Menuett und in einem immerhin über 15 Minuten dauernden, sehr zerrissen wirkenden Finale, das Inbar sehr spannend gestaltet.

Die sechs ‘Schubert-Erinnerungen’ von Jörg Widmann, ‘Idylle und Abgrund’, präsentieren Schubert in einem verzerrten und daher verstörenden Bild. Yehuda Inbar spielt das teils brutal direkte, teils einer Traumlandschaft ähnelnde Stück entsprechend kontrastreich.

Also: ein intelligentes Konzept, ein spannendes Programm, tadellos gespielt, in einem sehr transparenten, klaren und angenehm natürlichen Klangbild präsentiert.

Two unfinished Schubert Sonatas, Michael Finnissy’s performance version of the two unfinished movements of D 840 as well as Jörg Widmann’s six Schubert Reminiscences (Idyll and Abyss) form an intelligent and attractive concept. Israeli pianist Yehuda Inbar plays with insight, temperament and great finesse."

Remy Frank (Pizzicato, Luxemburg)

 

 

Pianist Yehuda Inbar plays pieces by Schubert, Michael Finnissy, and Jörg Widmann \ Album

It seems that a lot of work, and mainly creative thinking, were put into this album, producing a fascinating result. The starting point of the album are the many unfinished works Schubert left. Two of which are played here: the unfinished early and magical sonata movement D571 in F sharp minor, and the sonata Reliquie in C major which has two glorious first movements and sketches for third and fourth movements, but was abandoned before being finished for unknown reasons. According to commentary of the pianist, Yehuda Inbar, which accompany the album, there are 11 completions by composers, pianists, and musicologists. Inbar himself was satisfied playing the first two movements Schubert completed. His playing is tender and introverted, aided by an intimate recording of Oehms Classics experts.

Instead of a completion in Schubert’s style for the third and fourth movements, Inbar requested a new piece from composer Michael Finnissy, born in 1946. Finnissy has already written a few pieces which are based on Schubert’s music and departing from it into his own musical language which is contemporary, and passing Schubert through a prism of the 21st century. So is the piece he composed, which is sort of a completion for the sonata D840, assimilating in it parts of the sketches of the unfinished movements, echoes to the existing other movements and other materials by Schubert. As it happens, the literary narrative juxtaposed to his pieces is less interesting than the musical result, which is an interesting and enjoyable journey. Starting with Schubert motives and 19th century musical landscape which is easy to recognise. As the listening progresses, the landscape changes, becoming more Finnissy and less Schubert, more 21st century and less 19th century. Throughout, this is a communicative piece that speaks to the emotion, and Inbar’s delicate playing emphasises it.

The last piece of the album is particularly enjoyable in my taste. Idyl und Abgrund is the third piece Jörn Widmann writes as homage to Schubert. Widmann, born in 1973, is amongst the most eminent composers today, and this piece demonstrates his strength. Consisting of 6 short movements, ending abruptly as many of Schubert’s unfinished pieces. Containing elements of dances, folk music, and strange sonorities, implying of Schubert’s bold harmonies. 
This very short and beautiful piece ends with a dark and mysterious movement quoting Schubert’s last piano sonata.

This is my first encounter with the work of pianist Yehuda Inbar, born in haifa in 1987 and now based in London and Berlin. An impressive introduction, as Inbar built an album, to which one can and should, listen in row, sounding as an original and personal recital, and a bridge that emphasises the sequence and continuation of the music. The recital in intriguing, thought provoking and enlightening, and most importantly - it is also moving and enjoyable.

Haaretz review - English translation

Amir Mandel 31.7.2019

 

"

Why did Schubert leave so much music unfinished? Was it the rapidity and volume of his compositional output that works were set aside, and not revisited? Did he feel dissatisifed or struggle with certain pieces? In this impressive debut disc, Israeli pianist Yehuda Inbar seeks to throw light on the conundrum of the unfinished piano sonatas by this most introspective composer by presenting the fragmentary Sonata in F-sharp minor, D571, and the ‘Reliquie’ Sonata in C major, D840 together with Michael Finnissy’s Vervollstandidung von Schuberts D840 (in effect the third and fourth movements of the Reliquie) and Jorg Widmann’s Idyll und Abgrund.

There have been some notable completions of the D571, enabling pianists to perform a “complete” sonata in concert, but Inbar chooses to present this work in its incomplete form, finishing without warning before the recapitulation, a fleeting 7 minutes of extraordinary, intimate poignancy. Inbar’s account is elegantly paced with a warm, richly-hued sound (recorded on a concert Bechstein as opposed to a Steinway). The highlighting of certain details, including interior voices and bass accents, reveals the Mozartian clarity of Schubert’s writing and his fondness for long-spun songlines.

By contrast the C major sonata, probably the most significant of Schubert’s unfinished works, is Beethovenian in its grander orchestral textures and gestures, yet always shot through with the most intimate, introspective writing, its ambiguity made even more explicit through Schubert’s fondness for unusual harmonies and unexpected modulations. The transition between the F-minor sonata and this one works here because the C major Sonata opens with a sense of uncertainty, a spare, haunting motif rather than an emphatic statement. Inbar’s account is robust when required, but he is also acutely sensitive to the mercurial nature of this music.

Michael Finnissy’s piece is a stand-alone work but also completes the D 840 and was written for Inbar, who premiered it in May 2017. Finnissy describes Schubert as someone who has been “heavily marketed by the media, whose personality has been very frequently discussed….We don’t know our last moments and we shouldn’t think we know Schubert’s last moments either…I didn’t want a slow decline into an autumnal coda. I just wanted it to stop, almost with a question mark. Has it finished, has it not finished? What more do we know about Schubert from listening to this?” The work intriguingly interleaves distinctly Schubertian idioms and motifs with instances of unexpectedly crunchy dissonances and dramatic outbursts. Like the D571, it ends ambiguously. If you half-listen you might think this is pure Schubert in a particularly idionsyncratic mood, and, taken with the Widmann which follows, it’s instructive in revealing the essence of Schubert’s writing and the influence and pull of that writing on composers who followed him. Here, the new shines a light on the old, and vice versa.

The extremes of Schubert’s emotional landscape are reflected and distorted in Jorg Widmann’s Idyll und Abgrund, six little Schubert ‘reminiscences’ which combine dreamscapes, brilliance, drama and violence with fragments of Viennese waltzes, raunchy Ländler, and even a child’s music box, complemented by a whistle by the pianist, all handled with immediacy and panache by Inbar.

Highly recommended

https://crosseyedpianist.com/2019/05/19/a-dialogue-between-the-past-and-present-schubert-finnissy-widmann-yehuda-inbar-piano/amp/?__twitter_impression=true&fbclid=IwAR0EYhhgX1ZhBk5nc9PezLMEd3VkNcJ7T0gvpcNuV4dU9x8aPnYWDIPAwhs

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