Power as well as delicacy from Douglas in Volume 7 of his Schubert series

Pianist Barry Douglas’ seventh volume of Schubert’s Solo Piano Works came out in November, and this continues to be a highly noteworthy survey. He’s been taking his time – the first volume was released in 2014. This does allow us (and presumably Douglas) to focus more on the current volume’s works in isolation, rather than trying to assess the recordings en masse. Previous volumes have shown Douglas’ approach to be weightier than some, emphasising the forward-looking Romanticism in Schubert’s works, rather than lighter, Classical elements. But that’s a generalisation of course – Douglas can be delicate too, as in the gentle opening to the Sonata in E flat major, D568, and in that opening movement’s subsiding coda. But in between, there is bounce and pace, yet the throbbing chords in the development are never too weighty, everything kept in proportion. Similarly, the slow movement builds from its simple, plaintive opening, with weight and passion growing, yet never overly dramatic. Douglas gives a stop-start kick to the Minuet, with jaunty dotted rhythms in the Trio. That sense of dance is carried forward into the finale, where Schubert’s flow of ideas is at its most inventive, and Douglas certainly conveys that sense of effortless outpouring of material. In the Sonata in G major, D894, Douglas’ full-on approach comes more to the fore, with heft and dramatically crashing chords in the mammoth opening movement. Throughout this movement, there is a constant contrast between those fiery chords and a kind of lilting dance, and Douglas emphasises the extremes of this contrast. This element of contrast continues into the second movement, with a gently lyrical slow waltz followed by a weightier, dramatic second section, with more crashes from the extremes of the keyboard. There’s more drama in the Minuet, with forward drive from Douglas in the grace notes, yet the folksy Trio is given a much lighter touch. The chattering repeated notes of the finale demonstrate Douglas’ deft articulation, and his virtuosity keeps things dancing along with fluid, rippling runs and feisty pacing. Douglas ends the disc, as in other volumes thus far, with two transcriptions by Liszt of Schubert songs. Gretchen am Spinnrade has beautifully relentless spinning rhythms against the increasingly intense melodic line of the song, which Douglas brings out with striking lyricism, the intertwined elements of Liszt’s transcription adding to the song’s claustrophobic drama. In Wohin?, from Die schone Mullerin, the rippling ‘accompaniment’ is less frenzied, and the song can soar above more easily, even as Liszt’s virtuosic demands increase. Douglas’ command here is highly impressive, bringing to a close another strong volume in this collection. 

Schubert, F. 2024. Works for Solo Piano, Volume 7. Barry Douglas. Compact Disc. Chandos CHAN 20289.

Check out my reviews of previous Volumes: Volume 1, Volume 2, Volume 3, Volume 5 & Volume 6.