Here's a review of a CD that's a knockout. If anyone can answer the
question I raise about the variant ending of the Schumann Fantasie,
I'd appreciate hearing it. Thanks.

   Brahms: Variations and Fugue in B flat on a Theme of Handel;
   Schumann: Fantasia in C; Arabesque
   Arnaldo Cohen, piano
   Vox 7539

   5 out of 5 stars

   Red-blooded, Virtuosic Playing

   Arnaldo Cohen had never been on my radar scope until this CD
   came my way. I know I will have to seek out whatever else he's
   recorded, at least in the High Romantic repertoire. Like the
   earlier reviewers, I'm giving an all-out rave to this disc. The
   two main pieces here - the Schumann Fantasie in C and the Brahms
   Variations on a Theme of Handel - although from the Romantic
   stable, are very different from each other. The Fantasie is an
   unbuttoned emotional outpouring; the Brahms an orderly, even
   academic set of variations (although not without moments of high
   drama). It would be somewhat unusual for a single pianist to
   play them equally well. When I listened to the Fantasie I was
   bowled over but wondered, 'OK, how will he do with the Brahms.'
   I needn't have worried.

   The Fantasie is so emotionally driven that it is almost willful,
   but it never gets out of control and is utterly convincing. There
   is a good deal of manipulation of tempi and dynamics for expressive
   reasons. It reminds me somewhat of a concert performance I once
   heard by Yuri Egourov, although it is much more virtuosic, and
   Lord knows that's needed in the treacherous second movement. I
   have one question, though: What is with the ending of the third
   movement? Cohen interpolates some harmonic changes and a short
   recap of the ending of the first movement into the ending of the
   third.  I've never heard this done before and it certainly isn't
   what's printed in my Edition Peters score. I do know that Charles
   Rosen recorded some of Schumann's earlier versions of his piano
   music some years ago but never heard those recordings; could
   this be one of those variants? It makes no real difference in
   the long run; the performance is still one of the great ones.
   But the first time that variant ending sailed past my jaw dropped.

   The Brahms starts properly, with chaste trills and runs, but by
   Variations 3 & 4 Cohen's Latin temperament begins coming out
   and, although it never gets out of hand, there is more heat and
   passion than one ordinarily hears in this piece. When appropriate
   he returns to the more neatly classic approach in the variations
   that require it (e.g. Var. 12). The overall effect is certainly
   exciting! At first I wasn't sure what to make of it, but as I
   listened again and again it came to feel right. I went back to
   recordings by people like Serkin and Brendel and they began
   sounding, well, tame. I think it comes down to the fact that
   many great pieces can tolerate widely differing interpretive
   approaches and it was nice to hear this one.

   Schumann's Arabesque concludes this well-filled disc (TT=66mins.)
   and is rather more mainstream (although somewhat faster than
   usual) than the two big pieces. No matter; it is nicely done and
   a satisfying conclusion to the recital.

   Arnaldo Cohen is clearly a major pianist. If I were in charge
   of things, I'd make sure he had major bookings and recordings.
   He deserves to be heard.

   Finally, there is the amazingly low budget price of this CD. You
   really can't afford NOT to buy this one.

   Highest recommendation.

Scott Morrison