Hi fnork,
I've always had a hard time warming up to the Sonata, Op. 1. I used to wonder why, when Berg could create a piece as sensual as the Seven Early Songs for voice and chamber orchestra, that he couldn't have given us something as ravishing in the piano literature. Hearing previous performances of the sonata, sometimes portraying high neurosis and turbulence, I never found them compelling. I must say though that your very lyrical and powerful performance of this work has changed my opinion completely. I believe it's a combination of things--the way you keep foreground predominant over background at every turn of phrase, the etching of the motifs which brings an illuminating clarity, the very varied tonal pallet you use in creating your many lush nuances, and your recognition of voice leading and phrasing, which in turn, define the long line and ultimately the entire flow of the music. I guess on this sonata, I'm now a convert. Wonderful, masterful playing!