Robert Schumann(1810-1856)
      Humoreske, Opus 20

Vladimir Ashkenazy
Philips 456715(Great Pianist Series)
Recorded 1972
Comparisons: Kempff/Schein/Horowitz/de Larrocha

Summary: Not a Version for Any Season

I recently obtained this Ashkenazy volume of Philip's Great Pianist
Series for Ravel's Gaspard de la nuit which I am using for another review
project.  Since the set happens to include Ashkenazy's 1972 Humoreske,
I thought I should offer my opinions on it for enhanced completeness of
my Schumann/Humoreske reviews.

Recapping from my initial review, the best versions of Humoreske, listed
above, take me completely into Schumann's psychology and soundworld to
the degree that I stop thinking about tension, abruptness, lyricism, or
the Florestan/Eusebius debate.  These versions are utterly compelling
and even magical.  Kempff delivers the detail, Schein the lyricism, de
Larrocha the boldness, and Horowitz the extreme and sudden mood swings.

Unfortunately, I don't find myself immersed in Ashkenazy's interpretation
for a couple of reasons.  First, the sound is quite raw in the powerful
Florestan music and hurts my eardrums.  Yes, the volume can be reduced,
but that move eliminates any opportunity for an exciting display.  Second,
there is a lightness of touch and even humor in Ashkenazy's Florestan
which I find at odds with Florestan's personality; he is an aggressive
warrior, not a humorist.  As for Ashkenazy's way with Eusebius, even
here the lightness of touch can damage the level of poignancy.

There are some very appealing aspects of Ashkenazy's performance, the
best being the sheer velocity of the Florestan music.  I don't believe
any recorded performance of Humoreske has a faster Florestan than Ashkenazy
offers us.  However, speed does not automatically translate into equal
measures of tension/weight, and the raw sound is a continuous hindrance.
At least the hiss in the soundstage does not infect the notes at any
time.

Don's Conclusions: Ashkenazy's Humoreske is an enjoyable issue, but far
off from being able to contend with the best recordings.  I suggest that
listeners sample his performance to hear if the raw sound, humor, and
lightness are as negative in their impact as I have found these factors
to be.  I must emphasize that, setting these factors aside, the Ashkenazy
recording still is not among the most rewarding on the market.

Don Satz
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