Schoenberg/Berg/Webern: Piano Music

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Schoenberg/Berg/Webern: Piano Music



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77 minutes


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Schoenberg/Berg/Webern: Piano Music


Piano Sonata, Op. 1


Klavierstücke (3), Op. 11

Kleine Klavierstücke (6), Op. 19

Klavierstücke (5), Op. 23

Suite for Piano, Op. 25

Klavierstück, Op. 33a

Klavierstück, Op. 33b


Variations, Op. 27

Peter Hill (piano)



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The piano music heard in the previous disc released on Naxos “can so easily come across as exercises in compositional technique, but lucidly unfolded like this, they emerge as entirely pianistic, and often tensely dramatic." The Guardian

Alban Berg: Piano Sonata, Op. 1

Piano Sonata, Op. 1

Arnold Schoenberg: 3 Klavierstucke, Op. 11

I. Massig

II. Massig

III. Bewegt

Arnold Schoenberg: 6 Kleine Klavierstucke, Op. 19

I. Leicht, zart

II. Langsam

III. Sehr langsam

IV. Rasch, aber leicht

V. Etwas rasch

VI. Sehr langsam

Arnold Schoenberg: 5 Klavierstucke, Op. 23

I. Sehr langsam

II. Sehr rasch

III. Langsam

IV. Schwungvoll

V. Walzer

Arnold Schoenberg: Piano Suite, Op. 25

I. Praludium

II. Gavotte

III. Musette

IV. Gavotte

V. Intermezzo

VI. Menuett

VII. Trio

VIII. Menuett

IX. Gigue

Arnold Schoenberg: Klavierstucke, Op. 33a

Piano Piece Op. 33A

Arnold Schoenberg: Klavierstucke, Op. 33b

Piano Piece Op. 33B

Anton Webern: Variations for Piano, Op. 27

I. Sehr massig

II. Sehr schnell

III. Ruhig fliessend

Gramophone Classical Music Guide


“When interviewed by Gramophone back in September 1989, Peter Hill said he felt he had things to say about the Schoenberg piano works which had not been said on record. Here is the complete vindication of that statement. These are scrupulously prepared performances, with all the polyphonic strands clarified and all the myriad articulation marks respected. In order to accommodate that detail and let it speak musically, Hill takes tempos on the relaxed side of Schoenberg's frequently rather manic metronome indications. The first two of the Op 11 pieces gain a gravity that might have surprised the composer, and the fourth piece of Op 23 loses some of the suggested schwungvoll character.
Yet there's no lack of brilliance and velocity in such pieces as the Gigue from Op 25, and time and again Hill's thoughtfulness and search for expressiveness and beauty of sound justify his spacious approach.
Hill probes with equal subtlety, sympathy and high intelligence in the Webern Variations, while in the Berg Sonata, Hill's unforced lyricism, inwardness and flexibility of phrasing are again immensely appealing. Apart from its amazing value for money, Naxos's first-rate recording quality, Peter Hill's own lucid booklet- essay, and what sounds like an ideally regulated instrument, all contribute to the outstanding success of this issue.”

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