Robert Schumann(1810-1857)
     Kinderszenen, Opus 15

In Part 7, these two versions of Kinderszenen are offered:

Jorg Demus - Nuova Era 7314(1988)(1 cd)
Fou Ts'ong - Carlton 3036601127(1989)(2 cd set)

Jorg Demus is no stranger to piano music enthusiasts, having made dozens
of recordings for various labels.  His Kinderszenen disc is Volume 4 of the
complete Schumann piano works recorded for Nuova Era in the late 1980's;
altogether, there are thirteen volumes.  In each volume, a very popular
Schumann work is coupled with less known pieces.  So Volume 4, in addition
to Kinderszenen, offers the Opus 28 Romances, the Opus 126 Fugues, and Opus
10 Paganini Studies.  The total music time of the disc is a hearty 72:47.

Although Fou Ts'ong does not quite possess the reputation accorded Jorg
Demus, he has a loyal following in his adopted home of London and is
particularly known for his performances of the music of Mozart, Debussy,
and Chopin.  In addition to Kinderszenen, his 2-cd set also includes
Kreisleriana, Davidsbundlertanze, the Arabesque, Papillons, and the famous
7th Scene from Waldszenen.  Total music time is only about 120 minutes,
but the program is stacked with the more renowned Schumann piano works.

Recapping from the first six Parts of this review project, I have found
the following seven versions of Kinderszenen outstanding and essential:
Clara Haskil, Benno Moiseiwitsch, Claudio Arrau, Antonin Kubalek, Ivan
Moravec, Mieczyslaw Horszowski, and Artur Schnabel.  Strong recommendations
go out to the versions from Martha Argerich, Vladimir Horowitz, Wilhelm
Kempff, Clifford Curzon, Daniel Blumenthal, Alfred Brendel, and Jacqueline
Blancard.  Mild recommendations are the order for Cristina Ortiz, Peter
Katin, and Radu Lupu.

Because of the very strong competition, I can not recommend the following
artists' performances: Ruth Slenczynska, Vladimir Ashkenazy, Ethella
Chuprik, Maryla Jonas, Ronan O'Hora, Dag Achatz, and Brigitte Engerer.  For
whatever it's worth, the most rewarding of these seven versions comes from
Ashkenazy, Jonas, and Achatz; I should note that sound deficiencies in the
Ashkenazy and Jonas recordings play a significant role in their placement.

The above is how matters currently stand, and Demus and Fou Ts'ong will
have to deliver some great interpretations to make a dent in joining the
better recordings of Kinderszenen.

Reviewing recordings is not always a neat process of gradual progression.
After listening to the first three Scenes of the Demus reading, I was ready
to dump it in the trash can.  By the time the Postlude had finished, I
loved the interpretations.  Attributing this more to my mood swings than
any great improvement as Demus moved along, an alternative time for
listening was in order.

However, one aspect of the recording was clear to me regardless of my
mood; the sound isn't very good and could be classified as 'lousy'.  It
has a boxed-in quality which is a major detriment.  Right-hand notes which
need to ring out with poignancy aren't allowed to do so.  Bass lines are
murky and unattractive.  If you enjoy 'hiss', this Nuova Era disc is right
up your alley.  Demus has to deal with sound that makes Ashkenazy's seem
like the 'latest and greatest'.  There is one mitigating factor; the less
revealing the audio equipment, the less bothersome the sound becomes; I
advise doing without headphones also.

Jorg Demus might have bad sound to contend with, but the overall impact is
quite favorable.  Subsequent listenings have convinced me that the first
three scenes are excellently played, although I would have liked a more
exciting display in the 2nd Scene.

"Pleading child" is slowly performed by Demus in a luxurious fashion
and with just the right degree of tension.  "Happiness" finds Demus in
a delightfully joyous mood, and he swaggers confidently and with regal
dress in "Important event"; best of all, Demus gradually winds down in the
conclusion almost as efffectively as Kempff.  "Dreaming" has the hypnotic
quality and subtle shadings offered by Moravec, and "By the fireside" has
never sounded so youthful and vibrant.  The 9th Scene, "Knight of the
hobby-horse", has exuberant momentum to die for, and I love the subtle
urgency Demus gives "Almost too serious".  In the two final scenes and the
Postlude, Demus only disappoints in being a little stingy with the macabre
aspects of "Being frightened".

Overall, the Demus version of Kinderszenen has much to offer.  He's as good
as any other pianist in the slower and more contemplative scenes, and his
exuberance/joy in the faster scenes is admirable.  However, do be wary of
the sound quality.

Fou Ts'ong makes an impressive beginning with a 1st Scene beautifully
blending the wonder of a child dreaming of foreign lands with the
contemplation of an adult.  Unlike Demus, Ts'ong often slows down and also
applies many hesitations in an attempt to convey enhanced poignancy; he
succeeds splendidly.

Although Fou Ts'ong is appropriately wide-eyed and energetic in the
"Curious story", he tends to chop his way through the music; also, the
tender passages are routinely delivered.  "Catch me" finds Fou Ts'ong again
applying hesitations, but this time the approach only damages the piece's
great momentum and drive; another negative aspect is that he puts the
brakes on his volume at the worst times.  "Pleading child" goes much better
with a reading of tenderness contrasted with atractively subtle urgency.

At this point, Fou Ts'ong appears to have a better handle on the slower and
more contemplative music than on the fast and exuberant scenes.  He needs
to realize that driving music can't accomodate volume drops and hesitations
very well.

Fou Ts'ong finds the perfect vehicle for changes in volume and tempo with
"Happiness".  In "Important event", he does get into some chord banging,
but the conclusion fades out beautifully.  "Dreaming" gets a gorgeous and
enchanting treatment, while Fou Ts'ong locates the perfect blend of
innocence and mature thought in "By the fireside".

Pleasures drop off some in the fast "Knight of the hobby-horse", as
Fou Ts'ong bangs out the notes in brutal fashion.  Although he certainly
conveys much urgency and feeling in "Slumbering child", not much is offered
in terms of a blissfully sleeping child; his child's sleep is a perturbed
one.

In summary, Fou Ts'ong's trademark in Kinderszenen is the use of
hesitations; more often than not, the approach works very well.  However,
he never astounds me, and there are a few scenes not fully satisfying.

Don's Conclusions: Both Jorg Demus and Fou Ts'ong get only mild
recommendations.  Demus is the better of the two, but his sound drags him
down.  Neither version is a strong contender for being in the library of
those who are content with no more than a few recordings of Kinderszenen.

Part 8 will be taking me toward the conclusion of this review project.
I haven't yet tired at all of listening to Kinderszenen, and that's my
tribute to this inspired work for all age-groups.

Don Satz
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