Andreas Staier made a spellbinding recording of Schubert's monumental A minor sonata D. 845 for Teldec in the mid-1990s. His remake for AEON is bookended by a two-movement work from Brice Pausnet, written specifically for Staier and his Christopher Clarke fortepiano. Taking its cue from D. 845, Kontra-Sonate processes Schubert's stark unison melodic writing and toccata-like patterns through Pausnet's essentially atonal vocabulary. His style is largely characterized by gesture as opposed to rhythm, and as a consequence, even the most rapid flourishes have a slow moving, decorative effect. As the music progresses, I find myself less interested in Pausnet's note choices and more fascinated with the subtlety with which he deploys the fortepiano's extraordinary pedal and percussion effects, registral differentiation, and unpredictable intonation. The continuity and caring precision of Staier's performance minimizes the music's static, academic countenance.


If Staier's angular and dynamically vivid Schubert A minor remake seems more settled and less impetuous than in the aforementioned Teldec version (especially in the last two movements), it's probably due to a more distant microphone placement than Teldec's tighter pickup. Is the una corda pedal responsible for those harp-like sonorities in the first-movement development section? What a gorgeous, totally unexpected sound! This is a profoundly fascinating release, but why do projects like this invariably include booklet notes packed with poetic, conceptual, philosophical, and mythological hooey?
--Jed Distler, ClassicsToday.com