Maria João Pires - Le Voyage Magnifique: Schubert Impromptus (1998)

This Maria Pires performance of Franz Schubert impromptus and other short pieces was expanded into a double-CD set by the label and given a separate title, “Le voyage magnifique”, to set it apart from rival versions and point to its special quality. In my opinion, this is well-deserved. Pires has given us one of her best recordings, one that ranges from the very good to the downright sublime.
Pires’ version of the long theme-and-variations 3rd Impromptu from the Op. 142 set illustrates her inspired playing. She is extremely musical throughout the contrasting variations, playing with a remarkable rhythmic subtlety and fluidity. The lead melodic line is never pat, often with slight anticipations or delays that make it really sing. But this fluidity isn’t soggy; it is combined with a snappy tempo that allows variations like the 5th, marked by running sixteenth triplets in the right hand, to flow with momentum and charm.
This performance of the 3rd impromptu is enough to justify the entire recording by itself but there are other terrific moments throughout. I thought the performance of the 4th impromptu from Op. 90 was easily the best I’ve ever heard. Just inspired pianism. After a charming outer section, fleet and projected with utter command, Pires imbues the minor central Trio with weight and desperation. It’s one of those outbursts of melancholy and dismay that crop up throughout Schubert’s later music and I’ve never heard the Trio’s intensity projected quite like it is here. The melancholy of the Trio is in fact enhanced by the crisp approach to the delicate outer sections, so the large scale form building is there, too.
One of the set’s benefits for me was drawing attention to the often-overlooked D 946 pieces, which are as long individually as the more famous Impromptus. While not quite in the Impromptus’ class, there is delightful and delicious writing here. The long first piece in E-flat minor is rendered wodnerfully by Pires. Her utter musicality and knowledge of the piece allows a beautifully integrated -- yet soulful -- performance to come through. I have pointed to three tracks that attracted my attention but the others are worthy, with for example Pires playing the notable 1st impromptu from the Op. 90 set very well, and generally excellent pianism throughout.
The only criticism I have is that the sound engineering provided by DG is somewhat hazy and certainly not ideal. I have gone through several performances of the Impromptus over the years, listening to the older Jorg Demus recording earlier on and listening to Alfred Brendel’s strong 1970s recording more recently. Those are worthy alternatives but the Pires is in another class, frankly. It’s a downright great Schubert recording and one of Pires’ best.