Robert Schumann(1810-1856)
     Kinderszenen, Opus 15

Part 1 will cover ten versions of Kinderszenen with another grouping slated
for Part 2.  The ten versions for your consideration are:

Martha Argerich.........Deutsche Grammophon 410653(1984)
Vladimir Horowitz.......CBS/Sony 42409(1962)
Mieczyslaw Horszowski...Nonesuch 79202(1988)
Peter Katin.............Olympia 218(1988)
Wilhelm Kempff..........Deutsche Grammophon 435045(1973)
Antonin Kubalek.........Dorian 90116(1988)
Benno Moiseiwitsch......Testament 1196(1930)
Ivan Moravec............Supraphon 3508(1987)
Artur Schnabel..........Naxos 8.110665(1947)
Ruth Slenczynska........Ivory Classics 71004(1999)

After typing the above credits, it seems like a very impressive line-up
of pianists; I do hope I've left some fine performances for Part 2.  When
the least renowned artist is Peter Katin, you know the discography is at
a very high level.

Let's talk a little about Schumann's Kinderszenen.  It was composed in
matter of a few days in 1838 when Schumann was twenty-eight years old.  The
work consists of twelve children's scenes followed by a postlude for the
set.  Each scene is a mood-painting, but they are not from the view of the
child; they represent the understanding feelings of an adult observing and
remembering the child's world.  From this perspective, there would
naturally be much nostalgia for those younger days of fun, discovery, and
parental security.

Of course, Kinderszenen gives us a panorama of moods passing from child
to adult and back.  Although many of the scenes are inward-looking and
gentle, a few possess great exuberance.  Simplicity is very important in
performing the work; one could say that it's a difficult work that needs
to sound very simple and pure.  As a point of interest, Schumann wasn't
yet a married man with children.  Would the work have been significantly
different if Schumann had already gone through the child rearing process?
Just a thought to ponder.

1st Scene(Foreign Lands & People) - When I was a child, my parents
bought me a large globe of the world; I used to spin it and find my future
destinations.  I don't think much about that globe and the vistas it opened
for me, but Schumann brings it all back.  At the same time, these thoughts
are not totally positive in that many of the travel dreams I had still
remain just dreams.  In that respect, there is an element of reflective
sadness as well.

Such is the case with the 1st Scene.  Although the piece is largely
tender and optimistic, there are passages of sadness when the descending
lines takes center stage.  The timings of the ten versions range from
Horszowski's one minute reading to Slenczynska's two minute performance.
Naturally, momentum gains priority with greater speed, while reflection is
stronger with the slower versions.

These are ten great performances of the 1st Scene.  Slenczynska, although
quite slow, does not get ponderous or bogged down.  Horszowski has me
believing that his very quick tempo is entirely appropriate; his momentum
is strong, and he doesn't skimp on reflection or sadness.

Although a hard choice, I favor Horowitz and Moiseiwitsch for the 1st
scene.  Horowitz gives one of the quicker performances; his drive and
poignancy are both at peak levels as well as the innocence of childhood.
As I've remarked in the past, I can't think of a pianist better than
Horowitz at playing soft music; his projection and articulation are
fantastic for the volume and he always creates subtle nuances that are
irresistable.

Moiseiwitsch's performance is as slow as Slenczynska's, but he leaves
out the concluding section's descending passages.  That's fine with me,
because I feel like I've had a full dinner once he's finished.  Overall,
Moiseiwitsch's articulation is even better than from Horowitz; this is most
evident with the descending lines which Moiseiwitsch accents perfectly with
a slowing of tempo which is mesmorizing.  His performance is the richest
of the ten and also provides the most contrast.  What about sound? It's
very good for 1930.  Although there can be some partial 'fade-outs', I am
very impressed with the piano tone and how well it is usually projected.
Actually, I prefer this sound to the less vivid tones from the Schnabel
version made seventeen years later.

2nd Scene(Curious Story) - These monikers such as "Curious Story" come
directly from Schumann as he wanted to give performers "hints" as to how
to approach each scene.  You'll have to fill in your own blank as to the
story's theme and plot.  Suffice it to say that the music is energetic,
bouncy, and contains a strong element of wide-eyed curiosity and wonder.

Repeated listenings of the 2nd Scene keep telling me the same message.
Each of the ten versions is equally enjoyable.  Also, except for Horszowski
and Katin, they are very similar to each other.  Horszowski's distinction
is an energy flow significantly more nervous than in the other
performances; I find it rewarding and not out of sync with the music's
charms and exuberance.  Katin possesses smoother contours than the other
versions; I'm not thrilled with this approach, but his tender passages are
so detailed and delicious that his version has to rank with the others.
One thing is becoming crystal clear; these ten particular artists don't
seem to have any level of quality less than outstanding.  I assume this
pattern will change since all the artists are human, but it's been quite
a trip for me so far.

3rd Scene(Catch me) - Although the title does convey the notion of a
playful game among children, this is one scene where I have to veer off
the beaten track.  I think most folks would agree that the music is fast
and energized.  Where I might be going off the main road is my opinion that
it also has a menacing element of diabolical proportion.

This time around, I do have some complaints about a few versions.
Horowitz calls attention to himself with exaggerated note pounding and
cute phrasing.  Kubalek and Horszowski are rather dainty with the right
hand, and Slenczynska is precious.  Argerich gives a performance of
segments as if she picked up pieces of recording tape and quickly attached
them; the reading never is coherent.  Katin's performance does have a
degree of coherence, but his technical command could use improvement.  Mr.
Kempff isn't sufficiently animated whether the name of the game is "Catch
me" or "The Devil's around the bend".  Finally, Slenczynska doesn't inject
enough youthful verve into her performance.

Ivan Moravec and Benno Moiseiwitsch give excellent readings with fine
driving power, exuberance, and sense of the long line.  With these two
performances, we start entering a world which has its underside partially
exposed.  With Artur Schnabel, the underside takes command as Lucifer is
gaining ground on his young prey.  Schnabel's is the fastest version of
the ten and a gang-buster interpretation.

Short Update:  Moiseiwitsch holds the top spot closely followed by
Horowitz, Schnabel, and Moravec.  The remaining versions have been a
pleasure to listen to, although none has yet to break through the very
strong competitive field.

4th Scene(Pleading child) - Such gorgeous and tender music enveloped in
a continuous stream of pleading questions is hard to find.  This piece
also has a subtle tension which comes primarily from the lower voices.  As
usual, each of the ten performances is an absolute delight.  Three do stand
out for me:  Moravec, Horszowski, and Kubalek.  I feel these three do the
best at presenting a constant cycle of pleadings.  Also, Moravec's version
is the slowest, most contemplative, and most tender.  Horszowski's quick
performance is the one which best evokes a pleading child; his inflections
are perfect.  Concerning Kubalek, the tension and projection from his left
hand are stunning and contribute to a very rich performance.

5th Scene(Happiness) - Schumann's music beautifully evokes a youthful
and complete happiness which leaps into the air with an urgency of it's
own.  Kempf is too relaxed; the music doesn't leap; there's also no leaping
with Slenczynska who is rather heavy and mature.  Argerich injects some
ill-timed drama, while Horowitz and Moravec overdo a priority on nuances
and changes in tempo and dynamics; they complicate instead of illuminate
the Scene.

Katin, Horszowski, Schnabel, and Moiseiwitsch give exceptional
performances.  Youth, joy, and a light exuberance tinged with urgency
are excellently delivered.  Even better is the Kubalek version which I
consider about perfect.  Comparing Kubalek with Horowitz/Moravec reveals
that Kubalek also elicits nuance from the music with changes in tempo and
dynamics but in a much more subtle fashion which is totally appealing and
*adds* to the urgency and lift.  Kubalek gives this listener the unbridled
and pristine joy that a child can exude.

6th Scene(Important event) - This music always seems more to me like a
ceremonial event of majestic proportions.  The piece is very confident and
swaggering; it can easily evoke the entrance of the royal family at court
during a time of celebration.  One of the most appealing aspects of the
music is how gradually and naturally the event winds its way down to a
position of rest.

This winding-down feature is beautifully performed by Wilhelm Kempff;
his shading and subtlety are entirely seductive.  My only reservation
is that his display of ceremony could have been a little more animated.
That greater animation with irresistable swagger comes from Schnabel,
Horszowski, and Moiseiwitsch.  However, none puts the magic into the
conclusion like Kempff.

Katin's wind-down conclusion hardly registers with minimal shading and
subtlety.  Horowitz and Moravec are too forceful unless something like a
boxing event is imminent.  Slenczynska is more than forceful as she applies
the 'sledge-hammer' approach; another poor decision she makes is to end the
music with demonstrative phrasing.  Argerich and Kubalek are fine but don't
match the best versions for swagger.

Update on Ruth Slenczynska:  In comparison to the other versions, Ms.
Slenczynska exhibits a rather mature personality not well in touch with
the child's world.  She has some problems with animation and tends toward
a heavy approach to the music.  I currently have her version as the least
rewarding, and her consistency of style leads me to believe that she's
likely to remain in that position.

7th Scene(Dreaming) - This is easily the most popular piece from
Kinderszenen and is often plucked from the work and presented in recitals.
The music's tender and comforting nature rightly weaves a spell of
enchantment over many listeners.

Most of the versions are excellent with Moravec's taking pride of place.
His performance is the slowest of the ten and the most comforting as well.
Its effect is hypnotic, and the subtle shadings so interesting.  The only
version I'm skeptical of is from Slenczynska.  She's certainly slow enough
to bring out a wealth of shadings and nuance, but they are few in number.
I find her rather perfunctory compared to the others.

8th Scene(By the fireside) - Blending a wide-eyed innocence with the
contemplative side of the adult, Schumann gives us a snapshot of adult and
child together watching the fire.  Kempff is on the slow side and rather
sleepy due to some weak articulation; this is not a vital reading.  Also,
at the slow pace, Kempff's level of nuance is very slight.  By comparison,
Horowitz uses a similar tempo but with articulation and inflection much
more pronounced than Kempff.

All the other versions are excellent.  Argerich has the most interesting
rhythmic patterns, and Moiseiwitsch presents a driving performance full
of tension.  My preferred version is from Antonin Kubalek.  His performance
is the slowest and easily the most contemplative.  Yet, he employs
outstanding articulation and a wealth of nuance to keep his reading fresh
and interesting.  Best of all, there's an innocence to his performance
which carries equal weight with the adult view.  Kubalek gives me the
greatest sense of intimacy between child and adult; that's why it goes to
the top of my list.

9th Scene(Knight of the hobby-horse) - This music needs to convey
a whimsical attitude and do it with a strong 'punch'.  Horszowski
surprisingly is too relaxed and stodgy, while Slenczynska is again overly
mature and dramatic.  Katin, Moravec, and Kempff are a step up but not
fully satisfying; Katin has a quirky rhythmic pulse, Moravec goes a little
overboard with nuances, and Kempff could be more animated.  Excellent
versions with plenty of punch and whimsy come from Horowitz, Moiseiwitsch,
Schnabel, and Argerich.

Anton Kubalek again offers my favorite performance of the ten issues.
As with the four great versions I mentioned above, Kubalek has the punch
and whimsy under command.  His advantage over the others is the amount of
detail he projects.  Kubalek's articulation is perfect in its strength,
and every delicious musical strand gets highlighted.

Last Update:  It looks like Moiseiwitsch, Kubalek, and Schnabel will be
vying for the top spot.  Kubalek wasn't close to the front-runners after
the first few scenes, but he keeps getting better like a fine wine.  At the
other end, Slenczynska holds up the rear; Katin has been significantly more
rewarding than Slenczynska but still below the other eight versions.

10th Scene(Almost too serious) - Yes, the music is serious and also
delicate, mysterious, and comforting.  Horszowski has commented that
perhaps the child on the hobby-horse from Scene 9 has fallen and is crying.

I've had a very enjoyable time listening to each of the versions of
Scene 10; every one of them captures the music's delicate and comforting
elements.  There are two versions which do more - Horszowski and
Moiseiwitsch.  Both inject an irresistable degree of tension and urgency
to their readings without disturbing one bit the music's youthful and
comforting nature.  By doing so, each presents the greatest amount of
diversity and contrast.

11th Scene(Being frightened) - Essentially, this scene has a primary
theme of sadness/weeping with three strategically placed passages meant
to frighten.  By my count, four of the versions do have strong fright
and menace in their presentations:  Slenczynska, Moiseiwitsch, Argerich,
and Horowitz.  I particularly like how Horowitz gives the sad theme a
jittery quality which leads into the fright.  Although Slenczynska is quite
frightening, she also imbues the sad theme with a similar quality.  The
result is a lack of contrast which drops her version from the top level.

12th Scene(Slumbering child) - Intense melancholy and reflection set
against the blissful sleeping of a child makes this scene appropriate as
the last one in the set.  Every version is a joy to listen to, including
the very quick performances from Moiseiwitsch and Horowitz which replace
some of the melancholy with urgency.  My favorite has to be the Moravec
with leisurely pacing, exquisite melancholy, and the most expressive
presentation of the serenity of a sleeping child.

Postlude(The poet speaks) - The reflections of one's childhood have come
to a conclusion.  It is now time to listen to a sensitive adult ponder
the meaning of life and the connections/disconnects between our youth and
maturity.  Articulation and intervals are so important in this very slow
music with spacing that often seems enormous.

When a youngster, I had much trouble playing the Postlude in that I
couldn't stick to the wide spacing required.  I felt compelled to speed up
and always got ticked off knowing that I wasn't showing the patience needed
to do the piece justice.

Given my past experience with the Postlude, I wince whenever I hear
a version which sounds like the pianist also can't stay with the wide
spacing.  I'm glad to report that all ten versions have no problem with
patience and spacing.  Each is effective in giving us a mature and
reflective guide.  My preferred version comes from Schnabel who invests the
music with a greater weight and foundation than the other pianists; his
articulation is also exceptional.  I'd surely want Schnabel as my guide.

Don's Conclusions:  I can confidently give a strong recommendation to eight
of the ten performances.  Katin is mildly recommended, while Slenczynska's
version is problematic.  Here's the run-down in order of preference:

Benno Moiseiwitsch - Revered for his wide tonal palette and aristocratic
style, Moiseiwitsch uses these qualities to provide an outstanding
interpretation.  All aspects of his playing are at least excellent.  Tempo
is a moot point with Moiseiwitsch since the ones he employs always sound
just right.  His articulation is second to none and largely responsible for
the high stature of his readings.  He does a beautiful job of blending the
views of the adult and child, and the only drawback I can think of is the
dated sound.  Unless you insist on excellent sound quality, Moiseiwitsch's
Kinderszenen is an essential acquisition.  This Testament disc also has
Chopin's 24 Preludes, four pieces by Rachmaninov, and other music to boot.

Antonin Kubalek - With the best sound quality of the ten versions,
Kubalek's version is preferred for those who might find the Moiseiwitsch
sound a detriment.  Kubalek is equal to and quite similar to Moiseiwitsch
in most of the scenes.  Like Moiseiwitsch, Kubalek's articulation and
spacing are exceptional, and he routinely puts forth a delectable amount
of nuance and expression.  The other works on the Dorian disc are Carnaval,
and the Opus 111 & 133 pieces.  My best advice is to snap up Kubalek
without delay.

Artur Schnabel - Schnabel isn't aristocratic as much as he is tough and
rugged.  Schnabel supplies 'grit' to his readings, and I find this quality
a welcome and distictive one.  At the same time, the music's poetry and
nuance does not pass him by at all.  Although the sound leaves much to be
desired, this is a great version deserving a spot in one's record library.
The disc's coupling is the Piano Concerto in B flat major by Brahms which
is conducted by Adrian Boult.

Ivan Moravec - He's as good as it gets in the more tender pieces such
as Pleading child, Dreaming, and Slumbering child where his nuance,
contemplation, and comfort are exceptional.  The more exuberant music
is not at such a high level; Moravec can go overboard with nuance and
sometimes is too heavy.  Still, his best music-making is magnificent and
not to be missed.  This Supraphon disc also has Schumann's Piano Concerto
in A minor and the Franck Symphonic Variations.

Mieczyslaw Horszowski - This is a very youthful and rhythmically vital
reading which impresses me quite a bit.  Aside from a stodgy and overly
relaxed "Hobby-Horse", every scene is imbued with Horszowski's brand of
poetry and energy which often takes on a nervous quality well suited to the
particular scene.  His Nonesuch disc also contains Schumann's Arabesque,
two Mozart piano sonatas, and three pieces by Chopin.  It's a fine program
exceptionally performed.

Vladimir Horowitz - I end up a little disappointed with the Horowitz
version for two reasons.  First, I think he peaks with the 1st scene.
Second, there are times when I feel I'm listening to the 'Horowitz style"
instead of Schumann.  I really don't want to make too much of this, as the
performances are very enjoyable and rate a high recommendation.  The disc
also has Schumann's Toccata, Blumenstuck, Arabesque, and Kreisleriana; I
consider it a highly desireable combination of works.

Martha Argerich - Most piano enthusiasts seem to have a higher opinion
of Argerich than I generally possess.  The one reservation I tend to have
of her recorded performances is the same one I have concerning her reading
of Kinderszenen:  some lack of weight and foundation.  It's not a feature
I notice much from listening to only one scene, but listening to her
version straight-through sends me the clear message that more weight would
be advantageous.  However, like Horowitz, there is a great deal to enjoy in
her performances of Kinderszenen, and I expect to listen to them regularly.
The coupling is Schumann's Kreisleriana; it's not a generous program but
very rewarding.  If you have no problem with the weight Argerich gives the
music she performs, her version could well be among your favorites.

Wilhelm Kempff - Kempff's Kinderszenen is part of a four-cd box set of
schumann solo piano works which should be in the collection of every fan
of Schumann piano music.  However, his performance of Kinderszenen would
have benefited from greater animation in a few of the scenes.  I personally
find that he doesn't 'rev-up' frequently enough in comparison to the best
versions.

Peter Katin - It would be surly for me to complain about Katin's
performances.  He is always tasteful, poetic, and rewarding.  I do
feel that the best versions dive into the music's emotional core more
convincingly than Katin, but I've been enjoying his reading for years now
and figure on doing the same in the future.  Katin's all-Schumann disc also
has Carnaval and the Opus 22 Piano Sonata.  This is a fine disc which I'm
pleased to own.

Ruth Slenczynska - I can't recommend Slenczynska's reading of
Kinderszenen.  I've mentioned the exceptional weight provided by
artists such as Kubalek and the low weight from Argerich.  Slenczynska
offers at least twice as much weight as Kubalek, and it sinks some of
the performances.  I think the problem belongs to both Slenczynska and
the sound engineering.  Slenczynska's Kinderszenen is simply too mature
to capture a fine balance between adult and child.  The lower end of the
keyboard is given too much prominence by the artist and the engineers; it
frankly sounds as if an additional microphone has been dropped into the
piano at the lower end.  Please don't get me wrong; she certainly is poetic
and enjoyable, but there are too many superior versions to bother using up
valuable time with these heavy-bound performances.  The couplings on her
Ivory Classics disc are identical to the Katin offerings.

Part 2 will focus on seven additional recorded versions of Kinderszenen
which will be hard-pressed to match the quality of these first ten
reviewed.

Don Satz
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