Robert Schumann(1810-1856)
      Waldszenen, Opus 82

Schumann composed Waldszenen (Forest Scenes) in late 1848, about eight
years after getting married to Clara.  Schumann, just like any other
worthy German artist, was very attracted to the romanticism of the forest.
Waldszenen consists of nine scenes and can be thought of as representing
a full day of hunting game in the forest, exploring nature, sharing
companionship, and contemplating one's life and dreams.

There is a continuing view that Schumann's creative juices were in decline
by the time he composed Waldszenen.  However, two of the nine scenes are
frequently programmed on their own, and the work in its entirety is a fine
example of the skill and inspiration which made up Schumann's artistry.

Part 1 covers reviews of the four following versions:

Claudio Arrau
Philips 420871
Recorded 1972
TT 20:38

Vladimir Ashkenazy
London 421290
Recorded 1987
TT 21:24

Wilhelm Kempff
Deutsche Grammophon 435045
Recorded 1973
TT 22:55

Sviatoslav Richter
Deutsche Grammophon 447440
Recorded 1957
TT 20:17

We have four famous pianists who will be slugging it out for the top spot.
Richter's Waldszenen is coupled with Schumann's Piano Concerto, the
Introduction and Allegro appasionato, the Novelette in F major, and the
Toccata.  Kempff's version is part of a four cd set of Schumann solo piano
works.  Ashkenazy gives us Kinderszenen and the F sharp minor Piano Sonata
in addition to Waldszenen, while Arrau's disc adds Carnaval and
Kinderszenen.  Now on with the show.

1st Scene(Entrance) - We stand at the entrance to the forest, watching the
morning mist seep out of the trees.  The world is fresh and waiting to be
discovered as our feelings of serenity are contrasted with our currents of
anticipation of the day now upon us.

Schumann applies beautiful and expertly crafted music to a scene such as
the one above.  Capturing the gorgeous qualities of the music is only half
the story; the pianist also needs to convey the different emotions inherent
in beginning the journey into the forest or a new life.

Each of our four artists offers great interpretations.  Richter is the
pristine one of the group, offering a new day to those who want to apply.
His rhythm is irresistable, and I've never heard the conclusion trail off
so naturally.  Kempff alternates his tempos with perfection and is the
only one of the four to highlight tempo variations.  When I first listened
to Arrau, I thought he was too fast, bumpy, and jittery.  But continued
hearings worked wonders; I now feel that Arrau represents the jumpy
anticipation felt as the day starts.  His urgency and tendency to excite
is invigorating and far different from Kempff and Richter.

I can't think of any aspect of the Ashkenazy "Eintritt" which is less than
admirable.  At the same time, each of the other versions gives me something
special; Ashkenazy does not.  His is an excellent mainstream performance
that does all the right things but can't stick in the memory.

2nd Scene(Hunter in ambush) - An exciting and short piece which can offer
the duality of the rush of the hunt set against the sinister exploitation
of the weak.  I feel that Richter provides both themes with his commanding,
fast, and relatively dark reading.  The other three pianists are excellent
but significantly more upbeat.

3rd Scene(Lonely flowers) - Only Richter makes me feel for these lonely
flowers, because he alone instills the music with this quality through his
inflections.  Ashkenazy, Arrau, and Kempff take the 'lonely' out of the
music and are too cheerful.  To be sure, each of the three presents all the
beauty of the piece, but the emotional richness is low compared to Richter.

4th Scene(Place of evil) - My personal view is that Schumann could have
been more successful with this piece.  The music was originally based on
prose of the bleakest nature concerning the prevalence and dread of death
with slaughter thrown in for good measure.  Bach or Scriabin would have
feasted on such themes by digging the dagger into the listener incessantly,
but Schumann provides music of a bitter-sweet variety; I find that its
impact is intermittent.  Be that as it may, each of our four artists gets
as much angst out of the music as possible in excellent performances with
fine articulation and inflection.  Arrau is the most commanding and strong
of the four, but even he can't create what Schumann doesn't offer.  Likely
the best moments of the music come at the end when mystery trails off in a
vapor; again, I think that all four pianists convey the mystery very well.

5th Scene(Friendly Landscape) & 6th Scene(Shelter) - I lump these together
because neither has great musical substance and both benefit much from
Arrau's playful and bright nature.  Ashkenazy is just a little less playful
than Arrau, but the sonic sludge dampens the impact substantially.  Kempff
is too serious, and Richter has trouble lifting the music with his
pervasive legato.

7th Scene(Bird as prophet) - This music is often played as part of piano
recital programs, and it is considered quite unusual and progressive for
its time.  In ABA form, the first section is a perpetual mystery as the
prophet only offers confusing and spontaneous messages.  However, the
second section provides the full measure of comfort and confidence
concerning the future.

At this point, I'd like to plug one of my favorite Schumann piano
recordings courtesy of Michel Block on the defunct O.M.  Records
International label(#80508).  This disc adds up to 74 minutes of absolute
bliss as its program investigates Schumann's tender and congenial side; it
isn't all Eusebius, but Florestan has his restful periods also.  Among the
thirty-five pieces on the disc is the "Bird as prophet", and I favor
Block's interpretation more than any other I know.

Block gives a slow performance in the 3 1/2 minute range, just the way
I like it.  This tempo allows for much contemplation and gives the artist
the opportunity to shine in the wide intervals.  To say that Block shines
through is putting it mildly; his intervals are loaded with meaning and his
angularity/articulation is perfect.  The mystery is incisive with a playful
and coy demeanor I can't resist; it's a scintillating interpretation.

Getting back to our four pianists, only Kempff is in the 3 1/2 minute
range, but his reading isn't as effective as Block's due to rounded edges
which diminish the impact of the intervals.  Ashkenazy and Arrau are
excellent, but it's Richter's quick performance well below 3 minutes which
I favor among the four.  He's delicately sharp in the first section and
throroughly comforting in the second.

8th Scene(Hunting Song) - Robust music dealing from strength, this is an
exuberant hunting session which is more invigorating as the day progresses.
Our four versions are mighty fine with Richter offering a tempo which
depicts the hunt at top speed and in full pursuit.

9th Scene(Farewell) - A great day comes to an end as the hunters depart
with the evening's arrival.  Serenity and an immediate and subtle nostalgia
prevail in this lovely piece.  Again, all versions are excellent, although
I think Arrau's performance is slightly too upbeat and lacking some
nostalgia.

Don's Conclusions:  Each of these four versions of Waldszenen is highly
rewarding and well worth the cost.  My personal preference goes to the
Richter performance on Deutsche Grammophon for two reasons.  Although
Richter is well known for his command of architecture, it's the delicate
and pristine nature of his playing combined with an emotional breadth
not reached by the other three pianists which leads me to prefer his
interpretation.  These qualities are evident from the first three scenes,
and only his 5th and 6th scenes are not fully satisfying as his legato is
a bit too much for my tastes.

If an upbeat and playful interpretation is desired, Claudio Arrau more
than fills the need; most impressive are his 5th and 6th scenes where his
playful qualities get the most out of the music.  As it happens, this is
where Richter is at his weakest, so ownership of both versions essentially
covers the needs of the work.

Kempff's performance is excellent, although I do feel that he doesn't reach
the exceptional level he displays in his recorded performance for Deutsche
Grammophon of the Davidsbundlertanze.  There are times when I consider him
a little too upbeat, times when he is overly serious.  Others might well
disagree, but the main consideration is that Kempff never gives an unworthy
performance of a Schumann work.

Ashkenazy also is never unworthy in Schumann, but I have to place his
recording of Waldszenen a little below the level of the other three because
of the Decca piano sound - tubby soundstage with little definition.  It's
a recurring problem in Ashkenazy's Decca recordings from the 1980's which
does dampen one's pleasure somewhat.

For readers who don't want more than a couple of versions of Waldszenen,
my best advice is to acquire the Arrau and Richter performances which
complement each other very well.  Also, the Kempff four-cd set of
Schumann's piano music is a must-buy as well.  That leaves Ashkenazy as the
expendable one which is just fine since his disc isn't in print any longer.

I have about six more versions to review, so I'll be back in a few weeks.
The additional version I'm most looking forward to is from Elisso
Wirssaladze who is a hidden treasure in most of her recordings.

Don Satz
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