Robert Schumann(1810-1856)
     Kinderszenen, Opus 15

Idil Biret
Naxos 8.550885
Recorded 1993

I indicated in Part 12 that I had come to the end of my review project for
Kinderszenen recordings.  Little did I know that a disc I ordered way back
in April would arrive at my door in September; however, that's what happened
and leads me to distribute Part 13.

Biret's disc is 'mixed' in that the other works are Tchaikovsky's Album for
the Young and Debussy's Children's Corner; total playing time is 66 minutes
which isn't bad at all for the early 1990's.

Ms. Biret's Kinderszenen is a fine one but not at the highest level.
The proceedings get off splendidly with her "Foreign lands and people"
which she invests with a dream-like element and great comfort.  However,
excitement becomes problematic in "Curious story" as Biret indulges in too
much staccato and too many clipped notes; the result is a lack of continuity
and exhilaration.  Excitement is also short-changed in "Catch me" where
she goes slack at 11 seconds into the piece and upon its repeat another
11 seconds further in.  Of course, this is 'intended slack' although I'm
sure Ms. Biret intended no such thing.

Moving on through the performance, it becomes clear that Biret is most
conveying a gentleness and beauty of large proportion.  Whether it is
"Pleading child", "Dreaming", or "By the fireside", the results are
absolutely gorgeous and comforting.  For me, these are the features
which make Biret's version among the better recorded performances.

"Knight of the hobby-horse" is Biret's last opportunity to push the
excitement button, but she doesn't quite reach it.  Although she builds
momentum, I can feel her restraint as she just won't revel in the
exhilaration.

Don's Conclusions: A gentle beauty pervades Idil Biret's performance
of Kinderszenen.  If that was the total Schumann story, her version
would certainly be among the best on record.  However, Biret offers
little excitement, rendering three of the scenes not very rewarding.
Granted, excitement is not as prevalent in Kinderszenen as in a work
like Davidsbundlertanze, but it isn't a minimal aspect either.  Overall,
I do recommend the Biret, but only as a supplement to other versions
which provide a more complete picture of Schumann's sound-world.

Don Satz
[log in to unmask]