Robert Schumann(1810-1856)
   Davidsbundlertanze, Opus 6

Imogen Cooper
Ottavo 39027
Recorded 1990
Couplings:
Abegg Variations
Brahms Opus 116 Fantasien
TT 65:04

Imogen Cooper has quite a few recordings for Ottavo and is best known
for her Schubert discs.  Considered a protegee of Alfred Brendel, Cooper
has received excellent reviews of her recordings although she has not
broken through to the reputed top level of pianists.

I was listening steadily to Cooper's Davidsbudlertanze for a few weeks
but hadn't come to any definitive conclusions.  Although a major time
user, I trotted out my favored versions for some direct comparisons.
I'm glad to report that Cooper holds up quite well to Cortot, Backhaus,
Schein, Zacharias, Gieseking, Kempff, and Anda.  Cooper doesn't amaze
me at any point, but she clearly has the measure of the music and
Schumann's psychology.  Hers is a delightful performance which glitters
when needed and pounds out Florestan when he takes center-stage.  Actually,
she's best in the Florestan pieces with much sharpness and an effectively
abrupt delivery.  However, Eusebius is not short-changed at all; her
portrayl of this enlightened soul is always lovely and poignant.

Cooper's recorded sound is superb.  All areas of the keyboard are
crystal-clear and crisp with a very attractive depth and richness.
Adding it all up, this is an exceptional version sure to please.

Don's Conclusions: I end up with eight sensational versions of
Davidsbundlertanze.  In deciding which of the eight is my preferred
interpretation, I placed primary weight on the ability of each version
to fully cover the extreme differences between Florestan and Eusebius.
Further, I also took into account that the Davidsbundlertanze is one of
Schumann's most wild and abrupt musical creations.

To my surprise, I conclude that the Wilhelm Backhaus version on Enterprise
is the king of Davidsbundlertanze.  Nobody delivers the primitive nature
of the work as well as Backhaus; his Florestan is non-stop aggressiveness
and more wild than even Gieseking's.  The Eusebius pieces are also a joy
to listen to, being so poignant and gorgeous; only Ann Schein surpasses
him.

I should caution you that the sound quality Backhaus has to deal with
is quite unattractive.  The sound flutters significantly, yet it doesn't
take long to disregard the problem.  Backahus is simply too good to be
hampered by ancient sound considerations.

It's been a blast spending so much time with Schumann's Davidsbundlertanze.
I love the work, even preferring it to Kinderszenen because of its greater
scope and direct pipe-line to Schumann's personality.  Kinderszenen was
essentially a diversion for Schumann at a time when he was in much inner
turmoil; the Davidsbundlertanze goes to the heart of that inner turmoil
where Schumann is being torn apart by contrasted and intense feelings.

Upcoming review projects will include Schumann's Carnaval and Kreisleriana.
Other composers/works on the horizon are Janacek's String Quartets,
Shostakovich's Preludes for Piano, Rachmaninov/Liszt piano works, and
the Prokofiev Piano Sonatas/Visions Fugitive.  For an intellectual spin,
I'll be reviewing a few versions of Hindemith's Ludus Tonalis including
the highly revered Richter on Pyramid.

So much to do and so little time.  Maybe I'll check out from the library
a book on time-management and become a model of efficiency.  I can hear
my wife laughing about that; she considers me one of the great procrastinators
of our time.  She empties the kitchen waste basket when it's half full;
I pound down on the contents in the basket and wait until it's over-flowing.
Our best arguments involve how tall the grass should be before it gets
cut; I favor the 'jungle' look which needs about five inches of growth.

Don Satz
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