You are new here. The same topics are rehashed/revived all the time (this one was from last yr) on this and other piano forums. When I was new to piano forums (and iirc also when I first joined this board), I explained myself well and made clear that it was just my opinion. After a certain amount of repetition, one grows impatient and resorts to assertions, which could be supported but, giving a lack of interest in the topic, aren’t.
I’d wager if you were to start a new topic on Lang Lang, there would be a not insignificant number of single sentence posts consisting of pronouncements of hatred, disdain or conversely admiration. The reasons for these strong reactions have no doubt been articulated some time in the past. Should posters have to restate these reasons every time a new member comes and posts a LL topic??
As to Brendel, I am generally indifferent to his playing.
I will offer my opinion of his live Schubert D 960 from London.
The first thing I noticed was that his playing lacks clarity. His pedalling is bad, causing the textures to be blurred which makes it hard to listen to. I note a serious lack of power and fury. But neither is there any warmth or tenderness in the first movement. He has a limited dynamic range.
The second movement is probably the highlight, but that might be Schubert’s doing, it is one of the loveliest things he ever wrote, although often mistakenly (imo) milked for all the pathos it could possibly muster. Brendel’s playing here is fair, except for the omnipresent clarity problems. I also think it is too sonorous at times. And there is some misplaced forcefulness. Dynamically, I don’t think he ever gets to PP.
The final movement lacks feeling, and the furious climax which is one of the best passages in all of music imo, is extremely weak. The left hand provides the tension, and in Brendel’s version it is lacking. His idea of getting fury is to accent the RH chords forcefully from time to time.
His interpretation is boring. This needs further explanation? Ok, I hear nothing in Brendel’s playing that one cannot hear elsewhere. And frankly I’ve heard this sonata played much better. Do you need examples? Richter at Prague for one. He managed to play so slowly yet keep all the tension. Fiorentino (studio on APR), his slow movement is gorgeous.
In summary, while his playing here is not bad as such, there are definitely things that can be bettered.
From what I've heard of his playing, the problems here are typical of his pianism. Especially the pedalling and banality.
Poll
Topic: The greatest living pianist.