Robert Schumann(1810-1856)
Waldszenen, Opus 82
Penelope Crawford
Loft Recordings 1040
Recorded 1998
At the conclusion of Part 4, I indicated that I wasn't sure there would be
any further reviews of Waldszenen recordings. However, I found a small
batch of them in the recesses of my home, and this Loft disc is part of
that group.
What sets this Penelope Crawford apart from the previous discs I have
reviewed is that she is an early keyboard specialist and uses a Conrad Graf
fortepiano built in 1835 and restored in 1993 by Edward Swenson and Robert
Murphy.
There's usually plenty of debate about the virtues of using 'period'
pianos instead of modern ones. At one end, the verdict is that early
pianos do not offer the richness of tone nor the strength of the modern
piano; this opinion is most voiced when the early piano has to compete
with an orchestra for projection. At the other end, advocates of early
pianos point out the charm and sparkle they offer as well as perhaps giving
the listener a better idea of how the music sounded to the composer and
audiences of the time. Personally, I generally find that the only critical
factor is still the artistry of the pianist. A great pianist can impact
listeners on a variety of keyboard instruments of different tone and
vintage.
As it happens, the Conrad Graf used by Crawford has plenty of heft as well
as a lively sparkle; it's a charming piano which is able to lighten up a
room *and* 'rock on' through the night.
Ms. Crawford certainly brings out all the charm inherent in this
fortepiano and in Schumann's music, but she avoids Florestan's more extreme
declarations and Schumann's driving rhythms.
Given her approach, Crawford is delightful in the 1st Scene but much
too tame in the 2nd Scene, "Hunter's Ambush", where she never gets above
ground-level; the piano is not the problem, as it is Crawford who shys
away from driving Schumann's music to thrilling effect. This scene needs
a driven application to gain coherence, and Crawford simply delivers a
series of short episodes. Put another way, her hunter may be in ambush,
but he is also enjoying a sandwich and cool drink while waiting for his
prey.
In "Lonely Flowers", Crawford takes us back to the charm of Schumann.
However, there is no expression of loneliness. Switch to Richter on
Deutsche Grammophon and charm is exceptionally blended with those lonely
flowers.
Crawford's 4th Scene, "Place of Evil", is bereft of the dark side of the
human condition. Unlike Elisso Wirssaladze's foreboding and industrial
strength version on Live Classics, Crawford is entirely benign in a manner
similar to Paul Gulda on Naxos; her attacks totally lack strength and
depth. It's like visiting a haunted house which turns out to be just
a string of tea rooms.
The performances do improve with "Friendly Landscapes" and "Shelter"
which naturally align themselves with Crawford's style. But it's back
to failings with "Bird as prophet", where she is much too weak in her
articulation and inflections.
Crawford's reading of "Hunter's Song" does have fine zest, although even
here she exhibits some slack tendencies. The "Farewell" last scene is
probably Crawford's best: serene, comforting, and full of nostalgia.
The couplings on the disc consist of Schubert's Piano Sonata D. 845,
three pieces from Felix Mendelssohn's "Songs Without Words", and a
selection from his sister Fanny. The lacking elements in Crawford's
Waldszenen are on display in Schubert's sonata, but the Mendelssohn pieces
take well to the Crawford style.
Don's Conclusions: Richter, Elisso, and Arrau likely would have given
us memorable interpretations on the Conrad Graf fortepiano, but Crawford
isn't up to the task. Whether I describe her performances as 'half-full'
or 'half-empty', there are essential components of Schumann's soundworld
missing in action. With this in mind, Crawford's Waldszenen and the disc
as a whole is strictly for early piano enthusiasts who will certainly
appreciate the fine keyboard instrument. All others can pass on this disc
without regret.
Don Satz
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