The present selection reveals not only Schubert’s creative genius but also his craftmanship as a composer, which manifests as well through an almost orchestral, full sound like in the Sonata D Major No. 17 D 850, as well as in the Sonata in B Major D 575 through one ’leading rhythm’ running along the work. Both of these Sonatas represent Schubert’s inner richness; one facet of Schubert, which Atsuko Seki is able to transmit through her humble and natural interpretation. Her playing opens the door into a tender and wide space, where composer and artist meet and where different kind of moods and feelings blossom out freely.

 

The Four Impromptus have influenced the image of the piano composer Schubert like few other works. The three of them, which Ms. Seki recorded, resemble each other in the rarely interrupted flow of movement and their slow harmonic rhythm; the first one, which wasn’t recorded for the present release, stands on its own and rather apart. Since the recording itself is in some way dedicated to flowing movement in music, the choice to keep the First Impromptu unrecorded may be more understandable.

 

Ms. Seki plays a Bösendorfer Imperial tuned by Otto Thein.