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

Radu Lupu, piano
Recorded January 1993
Decca 440496 [74:56]
Program: Kreisleriana - Humoreske - Kinderszenen

Murray Perahia, piano
Recorded June 1997
Sony Classical 62786 [58:13]
Program: Kreisleriana - Sonata No. 1

Andras Schiff, piano
Recorded January 1997
Teldec 14566 [70:50]
Program: Kreisleriana - Nachtstucke - Gesange der Fruhe - E flat major
Variations

Although the three above pianists will likely end up in the "Hall of
Fame", I haven't held quite as high a opinion of them as the majority
of classical musical enthusiasts.  Still, I keep looking for great
performances from each and feel I can objectively rate the quality of
their interpretations.

Actually, I have found Andras Schiff to do his some of his best work in
his Schumann recordings.  It's his Bach interpretations which I generally
find fault with as he turns rather fussy, precious, and unfocused.  But
even with Bach, Schiff can be highly rewarding as in both books of the
Well-Tempered Clavier.

Schiff's Kreisleriana is quite different than I expected.  That he doesn't
supply the last ounce of poignancy to the Eusebius music does not surprise
me, but the emphatic nature of his performance is surprising.  Also, the
detail of inner voices that Schiff brings to the table is only equaled
by Wilhelm Kempff's reading on Deutsche Grammophon.  So, for a combination
of detail and emphasis, no other version surpasses Schiff's.

As noted above, Schiff's Eusebius isn't one of the more poignant on
record; he can sound rushed at times, and his inflections have no
heart-piercing qualities.  But even with Eusebius, the projection of
inner voices and strong accenting have compelling features.

Since detail (primary subject) and emphasis (interludes) are most
important in the final movement, this is where Schiff reaches his peak.
The right-hand figures in the primary subject ring out with interest and
mystery, and the interludes are granite-like without any loss of poetry.

Overall, I can give Schiff's Kreisleriana a hearty recommendation for
its detailed approach to phrasing.  Of course, the exceptional detail
is enhanced by a superb soundstage which is rich and clear.  Although
the other works on the disc are not among Schumann's most treasured
piano pieces, Schiff plays them beautifully.  I think that Schiff ate
his "Wheaties" before the recording sessions, and listeners are better
off for it.

Radu Lupu conveys the poignancy lacking in Schiff's version, and he also
does a great job of blending Florestan and Eusebius in the interludes
such as in the 3rd Movement.  Although Lupu's Florestan isn't uniformly
a tower of strength, there are some fantastic moments such as the
conclusion of the 3rd Movement where Lupu blasts his way to victory.

Actually, I found Lupu's version so good that the final movement became
the determining factor between an excellent Kreisleriana a little more
rewarding than Schiff's or a Kreisleriana on the top rung with Gieseking,
Cortot, Schliessmann, and company.  Alas, Lupu's final movement is not
very compelling.  His upper voice figures in the primary subject are
rather mundane and poorly detailed, and the 2nd Interlude is perhaps
too emphatic and lacking poetry.  Still, I'll take Lupu over Schiff
by a slim margin owing to his much better presentation of Eusebius.

At this point, with both Schiff and Lupu exceeding my expectations, I
enthusiastically ventured into the musical world of Murray Perahia and
was very pleased with his performances until he reached the 7th Movement.
In the 7th, Perahia goes limp from time to time, and his conclusion of
shortened note values is not appealing.  The 8th Movement is Perahia's
least rewarding; his right-hand figures in the primary subject are not
very detailed, interesting, or mysterious.  Also, the phrasing in the
1st interlude has a wooden quality.

To a degree, Perahia's little downfall in the final two movements reminds
me of the Mathis performance on Pierian which I reviewed in Part 6.  The
difference is that Mathis is astoundingl in the earlier music, while
Perahia is merely excellent.

Don's Conclusions: Although not outstanding versions, the three artists
covered in Part 7 give us highly enjoyable performances.  I consider
Lupu the most rewarding with Schiff close behind; Perahia brings up the
rear.

I now have nine versions on hand remaining to review with two more
possibilities dependent on an internet order being filled; the nine
are from Egorov, Uchida, Nat, Jegarov, Vogt, Banfield, Grimaud, Ts'ong,
and Perlemuter.  My intent is to wrap up this puppy with Part 8 and then
move on to the Enrique Granados soundworld of his Goyescas.  I also need
to find some time to finish off a review of the seven Naxos discs devoted
to the solo keyboard music of Trabaci; Naxos has resurrected this very
early Baroque composer, and he is close to being in the same league as
the magnificent Cabezon.

Don Satz
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