Robert Schumann(1810-1856) Waldszenen, Opus 82 Schumann composed Waldszenen (Forest Scenes) in late 1848, about eight years after getting married to Clara. Schumann, just like any other worthy German artist, was very attracted to the romanticism of the forest. Waldszenen consists of nine scenes and can be thought of as representing a full day of hunting game in the forest, exploring nature, sharing companionship, and contemplating one's life and dreams. There is a continuing view that Schumann's creative juices were in decline by the time he composed Waldszenen. However, two of the nine scenes are frequently programmed on their own, and the work in its entirety is a fine example of the skill and inspiration which made up Schumann's artistry. Part 1 covers reviews of the four following versions: Claudio Arrau Philips 420871 Recorded 1972 TT 20:38 Vladimir Ashkenazy London 421290 Recorded 1987 TT 21:24 Wilhelm Kempff Deutsche Grammophon 435045 Recorded 1973 TT 22:55 Sviatoslav Richter Deutsche Grammophon 447440 Recorded 1957 TT 20:17 We have four famous pianists who will be slugging it out for the top spot. Richter's Waldszenen is coupled with Schumann's Piano Concerto, the Introduction and Allegro appasionato, the Novelette in F major, and the Toccata. Kempff's version is part of a four cd set of Schumann solo piano works. Ashkenazy gives us Kinderszenen and the F sharp minor Piano Sonata in addition to Waldszenen, while Arrau's disc adds Carnaval and Kinderszenen. Now on with the show. 1st Scene(Entrance) - We stand at the entrance to the forest, watching the morning mist seep out of the trees. The world is fresh and waiting to be discovered as our feelings of serenity are contrasted with our currents of anticipation of the day now upon us. Schumann applies beautiful and expertly crafted music to a scene such as the one above. Capturing the gorgeous qualities of the music is only half the story; the pianist also needs to convey the different emotions inherent in beginning the journey into the forest or a new life. Each of our four artists offers great interpretations. Richter is the pristine one of the group, offering a new day to those who want to apply. His rhythm is irresistable, and I've never heard the conclusion trail off so naturally. Kempff alternates his tempos with perfection and is the only one of the four to highlight tempo variations. When I first listened to Arrau, I thought he was too fast, bumpy, and jittery. But continued hearings worked wonders; I now feel that Arrau represents the jumpy anticipation felt as the day starts. His urgency and tendency to excite is invigorating and far different from Kempff and Richter. I can't think of any aspect of the Ashkenazy "Eintritt" which is less than admirable. At the same time, each of the other versions gives me something special; Ashkenazy does not. His is an excellent mainstream performance that does all the right things but can't stick in the memory. 2nd Scene(Hunter in ambush) - An exciting and short piece which can offer the duality of the rush of the hunt set against the sinister exploitation of the weak. I feel that Richter provides both themes with his commanding, fast, and relatively dark reading. The other three pianists are excellent but significantly more upbeat. 3rd Scene(Lonely flowers) - Only Richter makes me feel for these lonely flowers, because he alone instills the music with this quality through his inflections. Ashkenazy, Arrau, and Kempff take the 'lonely' out of the music and are too cheerful. To be sure, each of the three presents all the beauty of the piece, but the emotional richness is low compared to Richter. 4th Scene(Place of evil) - My personal view is that Schumann could have been more successful with this piece. The music was originally based on prose of the bleakest nature concerning the prevalence and dread of death with slaughter thrown in for good measure. Bach or Scriabin would have feasted on such themes by digging the dagger into the listener incessantly, but Schumann provides music of a bitter-sweet variety; I find that its impact is intermittent. Be that as it may, each of our four artists gets as much angst out of the music as possible in excellent performances with fine articulation and inflection. Arrau is the most commanding and strong of the four, but even he can't create what Schumann doesn't offer. Likely the best moments of the music come at the end when mystery trails off in a vapor; again, I think that all four pianists convey the mystery very well. 5th Scene(Friendly Landscape) & 6th Scene(Shelter) - I lump these together because neither has great musical substance and both benefit much from Arrau's playful and bright nature. Ashkenazy is just a little less playful than Arrau, but the sonic sludge dampens the impact substantially. Kempff is too serious, and Richter has trouble lifting the music with his pervasive legato. 7th Scene(Bird as prophet) - This music is often played as part of piano recital programs, and it is considered quite unusual and progressive for its time. In ABA form, the first section is a perpetual mystery as the prophet only offers confusing and spontaneous messages. However, the second section provides the full measure of comfort and confidence concerning the future. At this point, I'd like to plug one of my favorite Schumann piano recordings courtesy of Michel Block on the defunct O.M. Records International label(#80508). This disc adds up to 74 minutes of absolute bliss as its program investigates Schumann's tender and congenial side; it isn't all Eusebius, but Florestan has his restful periods also. Among the thirty-five pieces on the disc is the "Bird as prophet", and I favor Block's interpretation more than any other I know. Block gives a slow performance in the 3 1/2 minute range, just the way I like it. This tempo allows for much contemplation and gives the artist the opportunity to shine in the wide intervals. To say that Block shines through is putting it mildly; his intervals are loaded with meaning and his angularity/articulation is perfect. The mystery is incisive with a playful and coy demeanor I can't resist; it's a scintillating interpretation. Getting back to our four pianists, only Kempff is in the 3 1/2 minute range, but his reading isn't as effective as Block's due to rounded edges which diminish the impact of the intervals. Ashkenazy and Arrau are excellent, but it's Richter's quick performance well below 3 minutes which I favor among the four. He's delicately sharp in the first section and throroughly comforting in the second. 8th Scene(Hunting Song) - Robust music dealing from strength, this is an exuberant hunting session which is more invigorating as the day progresses. Our four versions are mighty fine with Richter offering a tempo which depicts the hunt at top speed and in full pursuit. 9th Scene(Farewell) - A great day comes to an end as the hunters depart with the evening's arrival. Serenity and an immediate and subtle nostalgia prevail in this lovely piece. Again, all versions are excellent, although I think Arrau's performance is slightly too upbeat and lacking some nostalgia. Don's Conclusions: Each of these four versions of Waldszenen is highly rewarding and well worth the cost. My personal preference goes to the Richter performance on Deutsche Grammophon for two reasons. Although Richter is well known for his command of architecture, it's the delicate and pristine nature of his playing combined with an emotional breadth not reached by the other three pianists which leads me to prefer his interpretation. These qualities are evident from the first three scenes, and only his 5th and 6th scenes are not fully satisfying as his legato is a bit too much for my tastes. If an upbeat and playful interpretation is desired, Claudio Arrau more than fills the need; most impressive are his 5th and 6th scenes where his playful qualities get the most out of the music. As it happens, this is where Richter is at his weakest, so ownership of both versions essentially covers the needs of the work. Kempff's performance is excellent, although I do feel that he doesn't reach the exceptional level he displays in his recorded performance for Deutsche Grammophon of the Davidsbundlertanze. There are times when I consider him a little too upbeat, times when he is overly serious. Others might well disagree, but the main consideration is that Kempff never gives an unworthy performance of a Schumann work. Ashkenazy also is never unworthy in Schumann, but I have to place his recording of Waldszenen a little below the level of the other three because of the Decca piano sound - tubby soundstage with little definition. It's a recurring problem in Ashkenazy's Decca recordings from the 1980's which does dampen one's pleasure somewhat. For readers who don't want more than a couple of versions of Waldszenen, my best advice is to acquire the Arrau and Richter performances which complement each other very well. Also, the Kempff four-cd set of Schumann's piano music is a must-buy as well. That leaves Ashkenazy as the expendable one which is just fine since his disc isn't in print any longer. I have about six more versions to review, so I'll be back in a few weeks. The additional version I'm most looking forward to is from Elisso Wirssaladze who is a hidden treasure in most of her recordings. Don Satz [log in to unmask]