Robert Schumann(1810-1856)
      Kreisleriana, Op.16

These eight versions of Kreisleriana are reviewed in Part 4:

Hakon Austbo........Vanguard Classics 99086(1cd)-1995[33:08]
Natan Brand...........APR 7022(2cds)-1983[31:10]
Marta Felcman........Jay 1363(1cd)-2001[33:04]
Annie Fischer..........EMI Classics 69217(4cds)-1964[30:19]
Maria Gambaryan.....Russian Compact Disc 16299(1cd)-1982[32:21]
Sergio Fiorentino.....Fabula Classics 29902(2cds)-1973[27:19]
Julien von Karolyi.....Arkadia 908.1(1cd)-1953/4[27:29]
George Walker.......Albany Records 252(1cd)-1996[34:23]

Natan Brand could have been one of the great pianists of the 20th century
except for two stumbling blocks.  First, he was a mercurial person who
was not well understood.  Second, he died prematurely in 1990 at the age
of 46.

Sergio Fiorentino was not a traveling man.  After being involved in a
plane crash in the early 1950's, he essentially restricted his performing
activites to his native country until 1991 when he returned to the
international performance circuit.  Further, Fiorentino was not enamored
with the musical tastes of his fellow Italians.  Upon his death in 1998,
his reputation as a teacher was probably as strong as his reputation as
a performing artist.  Since that time, companies such as Fabula Classics
and APR have been issuing his past recordings, and the Fiorentino following
is growing substantially.

George Walker is a true composer with a host of discs for Albany Records
and one or two each for CRI and GM.  He also plays the piano, and I'm
here to say that he plays exceptionally well.  I first listened to his
Albany disc on a day trip and was blown away by the wonderful portrayl
of Eusebius.  Whether this initial view holds for the long-run is decided
later in the review.

Marta Felcman was a complete unknown to me as was the Jay label.  The
liner notes tell us that Felcman was born and raised in Buenos Aires;
she now lives in New York City.  She has played with a host of orchestras,
but never the major ones.  More impressive is the list of teachers Felcman
has had: Hans Graf, Louis Kentner, Peter Katin, Rosalyn Tureck, and Paul
Badura-Skoda.  Being an unknown, her Jay disc is a stunning reminder
that fame and quality are often not in alignment.

The remaining four versions came my way courtesy of the famous Berkshire
Record Outlet.  Although I had read that many weeks usually pass from
the time of order to delivery, these four recordings showed up in my
mailbox in no more than a week's time - I'm one lucky fella.

Annie Fischer needs little introduction.  She is one of the great pianists
of the 20th century, having well shown her mettle in Brahms, Beethoven,
Mozart, Schubert, etc.  Hakon Austbo is not a household name, but his
recent Messiaen series for Naxos has garnered a great deal of praise.
Although not having much of a reputation in the United States, Maria
Gambaryan is a celebrated artist, teacher, and music editor in Russia
and her native Armenia.  Julien von Karolyi was a highly esteemed Hungarian
pianist, but I can't say much more because the disc has no liner notes
and my search on the internet yielded nothing.  A search of sales sites
did reveal another von Karolyi disc on Melodram containing Chopin's 2nd
Piano Concerto, the Barcarolle, and the Opus 28 Preludes; this disc
somehow escaped my attention when I did my review projects of the Preludes
and Barcarolle.

In the first 22 versions I reviewed, I went through Kreisleriana one
movement at a time.  For these next eight versions, I'll take the more
common route of one recording at a time:

Julien von Karolyi - This is a very rewarding version of Kreisleriana.
von Karolyi's clear identification with Schumann's alter-egos insures
that each movement offers significant impact and pleasure.  At the same
time, I can't say that any of the 8 movements is transcendent or
outstanding.  von Karolyi sometimes allows Florestan to show restraint,
and the approach can reduce the adrenaline.

In the Eusebius music, von Karolyi is sometimes much quicker than the
norm, which affects the poignancy he is able to convey.  On the plus
side, and this is very important, von Karolyi is exceptional in delivering
an incisive and well-balanced interaction between Eusebius and Florestan.

Another excellent aspect of the recording is the high quality sound for
early 1950's.  It is clear, crisp, and hasn't a trace of recessed piano
tone.  The only negative is a slight warble that crops up at times, and
I just find it slightly annoying.

Concerning performance specifics, the 1st Movement goes splendidly; von
Karolyi's primary subject is a powerful creation, and I love his churning
Florestan in the Interlude.  Unfortunately, the 2nd Movement has some
problems.  The primary subject is ravishing music, and von Karolyi is
sometimes too fast; he also gets too loud, and that's when ravishing
becomes grating.  In the 2nd Interlude, von Karolyi starts off like
gangbusters but then turns weak; as I mentioned earlier, this restraint
is neither musically satisfying nor in keeping with Florestan as an
action man.

The 3rd Movement is similar to the 1st in that Florestan has the stage
to himself in the primary subjects while gaining a foothold in the
Eusebian Interludes.  As before, von Karolyi is excellent in conveying
Florestan and his contrasts with Eusebius; especially compelling is the
conclusion that could 'knock your socks off'.  When he wants, von Karolyi
can be a wild man just like Walter Gieseking.

The 5th Movement is another winner as von Karolyi displays great energy
and high spirits; also, his use of staccato is very effective and
refreshing.  The three remaining movements are well played and continue
to reflect von Karolyi's strong indentification with Schumann's soundworld.

To summarize, von Karolyi gives us one of the better versions on record
of Kreisleriana which should particularly appeal to those who like their
Kreisleriana on the quick side.  Along with Schumann, the disc has a few
pieces of Liszt and Debussy.  The last time I checked, Berkshire still
had the disc listed and the cost is 25% of a Naxos CD. Considering all
aspects, the recording gets my strong recommendation.

Hakon Austbo - Here is a version without flaws.  Austbo doesn't show
restraint with Florestan, and Eusebius always gets the warm and loving
treatment with slowish tempos.  Further, the recorded sound is definitely
state-of-the-art.

Although Austbo's version has a few advantages over the von Karolyi,
I don't find it more rewarding.  Austbo's Florestan is never wild and
doesn't convey any unbalanced emotional state.  Actually, there is a
level of emotional depth for both Schumann alter-egos that Austbo never
touches - no flaws, but also no risks that can lead to a transcendent
display.  Overall, it is a mainstream version of much enjoyment but not
close to delivering the impact of Gieseking's or Cortot's interpretations.
The great sound reminds me of the Schliessmann version, but Schliessmann
digs much deeper into Schumann's psychology than Austbo and is more
individualized.

Austbo's 7th Movement is a good example of what he offers.  It is played
with much power, and Austbo gives us a fast and exciting Toccata section
as well as a delightfully soft conclusion.  Yet, there is no desperation
in his performance, sounding too controlled.

The Vanguard disc also has Schumann's Fantasy in C and the Arabeske which
Austbo plays very well.  This is a fine recording in all regards, but
not among the most incisive releases.  I recommend its acqusition with
a little less enthusiasm than for the von Karolyi.

Maria Gambaryan - This is an excellent version that is consistently
engaging.  Gambaryan seems to relish portraying both Florestan and
Eusebius, and the interaction she provides is compelling.  Gambaryan's
Florestan isn't as powerful or wild a creation as Schliessmann's or
Gieseking's, but she brings out Florestan's anger and determination
superbly.  Her heart-felt Eusebius is simultaneously delightful and
poignant.  Recorded sound is exceptional for the time period with an
attractive richness combined with ample detail.  Especially memorable
is her conclusion to the work which winds down as if all of Schumann's
fractured figures have spent their energy.

I do have two minor quibbles.  Her 2nd Interlude of the 2nd Movement
could be more volatile, and there are times when I would have liked more
lilt to her inflections.  However, the final verdict is to seek out
Gambaryan's disc without delay.  It also has her exquisitely detailed
performance of Beethoven's Opus 22 Piano Sonata which rivals the Emil
Gilels on Deutsche Grammophon for my affection.

Annie Fischer - Fischer's piano tone can be harsh at times and I don't
care for the quick tempo and the whimsical nature of her figures in the
primary subject of the final movement.  Other than that, the performances
are exceptional for their depiction of Schumann's alter-egos, and the
flow and pacing of the work is superb.  Fischer's Florestan is sufficiently
powerful, but the main attraction is that she consistently emphasizes
his unbalanced thought process through her voice interactions.  She
treats Eusebius in a most ravishing fashion which makes her 2nd Movement
one of the best on record.

Although having much to offer, I do feel that the performances become
less compelling as Fischer progresses through the work.  Also, the harsh
piano tone I noted above is more prevalent in the latter movements.  So,
Annie Fischer's version is one of the better ones on record but not among
the most rewarding; the performances of Maria Gambaryan have the edge.

Marta Felcman - I first became aware of Marta Felcman through a search
of Amazon.com for various recordings of Kreisleriana.  There was a healthy
amount of feedback on the screen from buyers of the disc, and all of it
was glowing in support of Felcman's brilliance.  So, I took the plunge
to find out what all the hoopla is about.

The sound is something special - very rich with a depth that seems to
stretch down to the center of the Earth.  I'm not claiming that it's
state-of-the-art, because the richness can interfere with the definition
of Schumann's lines.  Still, I easily understand how many listeners would
classify the soundstage as fantastic.

I've been listening to the performance for a few days now, drifting back
and forth from finding it excellent to finding it in the top echelon.
My final conclusion is that Felcman offers an excellent reading.  She
conveys plenty of punch to Florestan and poignancy to Eusebius.  Most
impressive is the concentrated energy flow she imparts to the 1st
Movement's primary subject in the manner of Alfred Brendel.  Also, every
movement is very enjoyable, as Felcman obviously knows her Schumann.

I do have a few reservations.  Felcman's right hand is not among the
most effective in this work; her inflections in the Eusebius music often
are too weak to convey the most intense melancholy.  With Florestan, I
sometimes sense a measured response which reduces desperation; Florestan
is not a man who measures his actions.  Overall, Felcman's deliberate
Florestan and her less than sterling right hand preclude her version
from being among the best on record.  However, it is a fine performance
for the music library, and her recital disc has an excellent program:
Kreisleriana, the Bach/Busoni Chaconne in D minor, two Scarlatti keyboard
sonatas, three pieces from Carlos Guastavino, and Ned Rorem's 2nd Piano
Sonata.  You can't go wrong with the disc, but do keep in mind that
Felcman's Kreisleriana has its limitations.

Sergio Fiorentino - I don't recall ever giving any thought to whether
Schumann's Florestan music has poetic properties, but the performance
of Sergio Fiorentino raises the subject.  His Florestan is a brutal
figure with no grace at all; he can be on the quiet side, but then he
instantly arises to wreck havoc.  The dynamic range Fiorentino gives
Florestan is the widest I've yet to encounter.  When the engines are at
full blast, I am bombarded with a coarse and vulgar display from Schumann's
action alter-ego.

The characteristics Fiorentino imparts to Florestan tend to fit into my
ideal.  Yet, I am far from satisfied.  There's absolutely no poetry to
Fiorentino's interpretation of Florestan, and this missing ingredient
convinces me that Florestan does have poetic/musical properties.  At the
same time, Fiorentino's Eusebius is often sublime and tender; I have not
heard any versions more poignant in the 2nd and 6th Movements.

Other prevalent traits of the performances are frequent skipping of
repeats and quick tempos for Eusebius except in the movements mentioned
above.  Recorded sound is not good: recessed and thick with very little
air.  Overall, Fiorentino is interesting but ultimately quite frustrating
and the least enjoyable of the eight versions.  The best I can do is
recommend this Kreisleriana only to 'tough as nails' readers.  Fiorentino's
2-cd set also has a substaintial amount of the music of Debussy and
Ravel.

George Walker - Walker's recording is dry but clear and perfectly
acceptable.  Walker excels in the Eusebius music with a full display of
the music's rapture and assurance.  However, his Florestan often holds
back much of its power and drive.  On the plus side, Walker does give
the alter-ego a consistently unbalanced demeanor which is compelling.

The pivotal 2nd Movement is a good example of Walker's approach.  The
primary subject is pure Eusebius, and Walker is simultaneously comforting
and melancholy.  In the two Florestan interludes, Walker's power, although
impressive, can't compare to Gieseking or Schliessmann.  At the same
time, Walker's rhythmic patterns throw Florestan into an emotionally
unstable condition.

Walker's most inspired music-making is likely in the 8th Movement where
all of Schumann's imaginary and real characters converge.  Walker's
figures in the primary subject are very interesting, and his two interludes
possess all the Florestan strength that might have been lacking in earlier
movements.

There is a consideration of the pauses between primary subjects and
interludes.  The most extreme situation comes up in the crucial 2nd
Movement where Walker's pauses are ridiculously long; I thought that he
had left the piano to get some lunch.  Regardless, the Walker Kreisleriana
is definitely one of the better recordings on the market.  Along with
Kreisleriana, the disc contains a Prelude & Fugue offering from Bach's
Well-Tempered Clavier, four Chopin Etudes and one nocturne, and Poulenc's
Toccata.  Throughout, Mr.  Walker reveals a strong identification with
the music.

That only leaves Natan Brand whose Kreisleriana is a powerful force to
be reckoned with.  Tremendously strong bass strokes, sharp accenting,
secondary motifs elevated to equal status, and sweeping heaps of
concentrated energy insure that the listener will stay alert.  Brand is
a little like Fiorentino, but more powerful *and* lyrical.

The 1st Movement is a good indication of what's in store for you.  The
primary theme has the power of a 'Samson' with extremely bold phrasing
and accenting.  In the interlude, Brand's poignancy strikes to the heart
while he exceptionally conveys the Florestan-Eusebius conflicts.

The 2nd Movement finds Brand offering a urgency rarely heard from the
lovely primary theme; the man seems to create climaxes out of thin air.
There is a technical error early in the theme, but it soon disappears
from the mind when confronted with such compelling music-making.  Brand
approaches the first interlude with a vengence you won't get from any
other recorded performance, and his second interlude is tightly coiled
and gives Florestan an extremely unbalanced emotional foundation through
his lower voice rhythmic patterns and powerful accenting.

Brand is like granite in the 3rd Movement - loud and determined in the
primary theme, bold and angular in the interlude.  The 4th Movement is
largely a Eusebius affair, and a concern does start to rear its head.
In the softest passages, Brand can be a little too bold; this results
in a loss of comfort, and Eusebius is certainly a comforting soul.  The
5th Movement takes us back to a strong mix of combat and lyricism where
Brand is at his best and seems larger than life itself.

Kreisleriana's 6th Movement can get bogged down if the pianist doesn't
highlight Florestan's contributions.  One has no need to worry that Natan
Brand would downplay any aspect of Florestan's personality; you won't
find a stronger 6th Movement which also portrays the full measure of
Eusebius.

Needless to say, Brand dives into the desperate 7th Movement with
zeal.  Also, the tocccata section is lightning quick and tension-filled.
Amazingly, Brand is able to switch gears and give us one of the most
delectable conclusions I've ever heard.  This loving treatment is so
important when it hits against the unbalanced figures of the final
movement.  Speaking of the final movement, those steel-like bass strokes
of Brand's are highly effective, and the two interludes possess immense
strength and incisiveness.

The recorded sound is very impressive - rich, deep, and clear.
Unfortunately, there is a frequent fluttering effect that is quite
noticeable with use of headphones.  On balance, I'm not complaining.

Well, I've spent quite a bit of time on Brand's performance, and I think
he fully deserves the effort.  Any drawbacks?  I mentioned some lack of
comfort and the sound flutter.  A last negative is some wrong notes from
Brand, and they come loud and clear enough to make me wince.  No matter,
Natan Brand is too good to allow these problematic considerations to
carry much weight.  His temperament reminds me of Walter Gieseking, and
the rewards to be had from both pianists' versions of Kreisleriana are
enourmous.  Brand's 2-cd set from APR also has Schumann's Symphonic
Etudes, Mussorgsky's Pictures at an Exhibition, and some music of Haydn,
Schubert, and Chopin.  Buy it fast!  The Brand set is one of my best
acquisitions of the year 2003.

Don's Conclusions: There isn't a loser in this group of eight, and I
would only be cautious of the Fiorentino performance which is quite
lacking in human kindness.  Natan Brand's version is the most compelling
with Maria Gambaryan's close behind.  Although these are the two to
concentrate on, I am also very glad to have the Walker, Fischer, and von
Karolyi versions.

Part 5 will likely cover the Naxos Duo - Gulda & Jando.  Up to this point,
I haven't found either pianist to excel in Schumann's music, but the future
is always an unknown.  Other Kreisleriana performers around the corner
include James Mathis on Pierian and Yves Nat on EMI.  See you soon.

Don Satz
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