Robert Schumann(1810-1856) Kreisleriana, Op.16 These eight versions of Kreisleriana are reviewed in Part 4: Hakon Austbo........Vanguard Classics 99086(1cd)-1995[33:08] Natan Brand...........APR 7022(2cds)-1983[31:10] Marta Felcman........Jay 1363(1cd)-2001[33:04] Annie Fischer..........EMI Classics 69217(4cds)-1964[30:19] Maria Gambaryan.....Russian Compact Disc 16299(1cd)-1982[32:21] Sergio Fiorentino.....Fabula Classics 29902(2cds)-1973[27:19] Julien von Karolyi.....Arkadia 908.1(1cd)-1953/4[27:29] George Walker.......Albany Records 252(1cd)-1996[34:23] Natan Brand could have been one of the great pianists of the 20th century except for two stumbling blocks. First, he was a mercurial person who was not well understood. Second, he died prematurely in 1990 at the age of 46. Sergio Fiorentino was not a traveling man. After being involved in a plane crash in the early 1950's, he essentially restricted his performing activites to his native country until 1991 when he returned to the international performance circuit. Further, Fiorentino was not enamored with the musical tastes of his fellow Italians. Upon his death in 1998, his reputation as a teacher was probably as strong as his reputation as a performing artist. Since that time, companies such as Fabula Classics and APR have been issuing his past recordings, and the Fiorentino following is growing substantially. George Walker is a true composer with a host of discs for Albany Records and one or two each for CRI and GM. He also plays the piano, and I'm here to say that he plays exceptionally well. I first listened to his Albany disc on a day trip and was blown away by the wonderful portrayl of Eusebius. Whether this initial view holds for the long-run is decided later in the review. Marta Felcman was a complete unknown to me as was the Jay label. The liner notes tell us that Felcman was born and raised in Buenos Aires; she now lives in New York City. She has played with a host of orchestras, but never the major ones. More impressive is the list of teachers Felcman has had: Hans Graf, Louis Kentner, Peter Katin, Rosalyn Tureck, and Paul Badura-Skoda. Being an unknown, her Jay disc is a stunning reminder that fame and quality are often not in alignment. The remaining four versions came my way courtesy of the famous Berkshire Record Outlet. Although I had read that many weeks usually pass from the time of order to delivery, these four recordings showed up in my mailbox in no more than a week's time - I'm one lucky fella. Annie Fischer needs little introduction. She is one of the great pianists of the 20th century, having well shown her mettle in Brahms, Beethoven, Mozart, Schubert, etc. Hakon Austbo is not a household name, but his recent Messiaen series for Naxos has garnered a great deal of praise. Although not having much of a reputation in the United States, Maria Gambaryan is a celebrated artist, teacher, and music editor in Russia and her native Armenia. Julien von Karolyi was a highly esteemed Hungarian pianist, but I can't say much more because the disc has no liner notes and my search on the internet yielded nothing. A search of sales sites did reveal another von Karolyi disc on Melodram containing Chopin's 2nd Piano Concerto, the Barcarolle, and the Opus 28 Preludes; this disc somehow escaped my attention when I did my review projects of the Preludes and Barcarolle. In the first 22 versions I reviewed, I went through Kreisleriana one movement at a time. For these next eight versions, I'll take the more common route of one recording at a time: Julien von Karolyi - This is a very rewarding version of Kreisleriana. von Karolyi's clear identification with Schumann's alter-egos insures that each movement offers significant impact and pleasure. At the same time, I can't say that any of the 8 movements is transcendent or outstanding. von Karolyi sometimes allows Florestan to show restraint, and the approach can reduce the adrenaline. In the Eusebius music, von Karolyi is sometimes much quicker than the norm, which affects the poignancy he is able to convey. On the plus side, and this is very important, von Karolyi is exceptional in delivering an incisive and well-balanced interaction between Eusebius and Florestan. Another excellent aspect of the recording is the high quality sound for early 1950's. It is clear, crisp, and hasn't a trace of recessed piano tone. The only negative is a slight warble that crops up at times, and I just find it slightly annoying. Concerning performance specifics, the 1st Movement goes splendidly; von Karolyi's primary subject is a powerful creation, and I love his churning Florestan in the Interlude. Unfortunately, the 2nd Movement has some problems. The primary subject is ravishing music, and von Karolyi is sometimes too fast; he also gets too loud, and that's when ravishing becomes grating. In the 2nd Interlude, von Karolyi starts off like gangbusters but then turns weak; as I mentioned earlier, this restraint is neither musically satisfying nor in keeping with Florestan as an action man. The 3rd Movement is similar to the 1st in that Florestan has the stage to himself in the primary subjects while gaining a foothold in the Eusebian Interludes. As before, von Karolyi is excellent in conveying Florestan and his contrasts with Eusebius; especially compelling is the conclusion that could 'knock your socks off'. When he wants, von Karolyi can be a wild man just like Walter Gieseking. The 5th Movement is another winner as von Karolyi displays great energy and high spirits; also, his use of staccato is very effective and refreshing. The three remaining movements are well played and continue to reflect von Karolyi's strong indentification with Schumann's soundworld. To summarize, von Karolyi gives us one of the better versions on record of Kreisleriana which should particularly appeal to those who like their Kreisleriana on the quick side. Along with Schumann, the disc has a few pieces of Liszt and Debussy. The last time I checked, Berkshire still had the disc listed and the cost is 25% of a Naxos CD. Considering all aspects, the recording gets my strong recommendation. Hakon Austbo - Here is a version without flaws. Austbo doesn't show restraint with Florestan, and Eusebius always gets the warm and loving treatment with slowish tempos. Further, the recorded sound is definitely state-of-the-art. Although Austbo's version has a few advantages over the von Karolyi, I don't find it more rewarding. Austbo's Florestan is never wild and doesn't convey any unbalanced emotional state. Actually, there is a level of emotional depth for both Schumann alter-egos that Austbo never touches - no flaws, but also no risks that can lead to a transcendent display. Overall, it is a mainstream version of much enjoyment but not close to delivering the impact of Gieseking's or Cortot's interpretations. The great sound reminds me of the Schliessmann version, but Schliessmann digs much deeper into Schumann's psychology than Austbo and is more individualized. Austbo's 7th Movement is a good example of what he offers. It is played with much power, and Austbo gives us a fast and exciting Toccata section as well as a delightfully soft conclusion. Yet, there is no desperation in his performance, sounding too controlled. The Vanguard disc also has Schumann's Fantasy in C and the Arabeske which Austbo plays very well. This is a fine recording in all regards, but not among the most incisive releases. I recommend its acqusition with a little less enthusiasm than for the von Karolyi. Maria Gambaryan - This is an excellent version that is consistently engaging. Gambaryan seems to relish portraying both Florestan and Eusebius, and the interaction she provides is compelling. Gambaryan's Florestan isn't as powerful or wild a creation as Schliessmann's or Gieseking's, but she brings out Florestan's anger and determination superbly. Her heart-felt Eusebius is simultaneously delightful and poignant. Recorded sound is exceptional for the time period with an attractive richness combined with ample detail. Especially memorable is her conclusion to the work which winds down as if all of Schumann's fractured figures have spent their energy. I do have two minor quibbles. Her 2nd Interlude of the 2nd Movement could be more volatile, and there are times when I would have liked more lilt to her inflections. However, the final verdict is to seek out Gambaryan's disc without delay. It also has her exquisitely detailed performance of Beethoven's Opus 22 Piano Sonata which rivals the Emil Gilels on Deutsche Grammophon for my affection. Annie Fischer - Fischer's piano tone can be harsh at times and I don't care for the quick tempo and the whimsical nature of her figures in the primary subject of the final movement. Other than that, the performances are exceptional for their depiction of Schumann's alter-egos, and the flow and pacing of the work is superb. Fischer's Florestan is sufficiently powerful, but the main attraction is that she consistently emphasizes his unbalanced thought process through her voice interactions. She treats Eusebius in a most ravishing fashion which makes her 2nd Movement one of the best on record. Although having much to offer, I do feel that the performances become less compelling as Fischer progresses through the work. Also, the harsh piano tone I noted above is more prevalent in the latter movements. So, Annie Fischer's version is one of the better ones on record but not among the most rewarding; the performances of Maria Gambaryan have the edge. Marta Felcman - I first became aware of Marta Felcman through a search of Amazon.com for various recordings of Kreisleriana. There was a healthy amount of feedback on the screen from buyers of the disc, and all of it was glowing in support of Felcman's brilliance. So, I took the plunge to find out what all the hoopla is about. The sound is something special - very rich with a depth that seems to stretch down to the center of the Earth. I'm not claiming that it's state-of-the-art, because the richness can interfere with the definition of Schumann's lines. Still, I easily understand how many listeners would classify the soundstage as fantastic. I've been listening to the performance for a few days now, drifting back and forth from finding it excellent to finding it in the top echelon. My final conclusion is that Felcman offers an excellent reading. She conveys plenty of punch to Florestan and poignancy to Eusebius. Most impressive is the concentrated energy flow she imparts to the 1st Movement's primary subject in the manner of Alfred Brendel. Also, every movement is very enjoyable, as Felcman obviously knows her Schumann. I do have a few reservations. Felcman's right hand is not among the most effective in this work; her inflections in the Eusebius music often are too weak to convey the most intense melancholy. With Florestan, I sometimes sense a measured response which reduces desperation; Florestan is not a man who measures his actions. Overall, Felcman's deliberate Florestan and her less than sterling right hand preclude her version from being among the best on record. However, it is a fine performance for the music library, and her recital disc has an excellent program: Kreisleriana, the Bach/Busoni Chaconne in D minor, two Scarlatti keyboard sonatas, three pieces from Carlos Guastavino, and Ned Rorem's 2nd Piano Sonata. You can't go wrong with the disc, but do keep in mind that Felcman's Kreisleriana has its limitations. Sergio Fiorentino - I don't recall ever giving any thought to whether Schumann's Florestan music has poetic properties, but the performance of Sergio Fiorentino raises the subject. His Florestan is a brutal figure with no grace at all; he can be on the quiet side, but then he instantly arises to wreck havoc. The dynamic range Fiorentino gives Florestan is the widest I've yet to encounter. When the engines are at full blast, I am bombarded with a coarse and vulgar display from Schumann's action alter-ego. The characteristics Fiorentino imparts to Florestan tend to fit into my ideal. Yet, I am far from satisfied. There's absolutely no poetry to Fiorentino's interpretation of Florestan, and this missing ingredient convinces me that Florestan does have poetic/musical properties. At the same time, Fiorentino's Eusebius is often sublime and tender; I have not heard any versions more poignant in the 2nd and 6th Movements. Other prevalent traits of the performances are frequent skipping of repeats and quick tempos for Eusebius except in the movements mentioned above. Recorded sound is not good: recessed and thick with very little air. Overall, Fiorentino is interesting but ultimately quite frustrating and the least enjoyable of the eight versions. The best I can do is recommend this Kreisleriana only to 'tough as nails' readers. Fiorentino's 2-cd set also has a substaintial amount of the music of Debussy and Ravel. George Walker - Walker's recording is dry but clear and perfectly acceptable. Walker excels in the Eusebius music with a full display of the music's rapture and assurance. However, his Florestan often holds back much of its power and drive. On the plus side, Walker does give the alter-ego a consistently unbalanced demeanor which is compelling. The pivotal 2nd Movement is a good example of Walker's approach. The primary subject is pure Eusebius, and Walker is simultaneously comforting and melancholy. In the two Florestan interludes, Walker's power, although impressive, can't compare to Gieseking or Schliessmann. At the same time, Walker's rhythmic patterns throw Florestan into an emotionally unstable condition. Walker's most inspired music-making is likely in the 8th Movement where all of Schumann's imaginary and real characters converge. Walker's figures in the primary subject are very interesting, and his two interludes possess all the Florestan strength that might have been lacking in earlier movements. There is a consideration of the pauses between primary subjects and interludes. The most extreme situation comes up in the crucial 2nd Movement where Walker's pauses are ridiculously long; I thought that he had left the piano to get some lunch. Regardless, the Walker Kreisleriana is definitely one of the better recordings on the market. Along with Kreisleriana, the disc contains a Prelude & Fugue offering from Bach's Well-Tempered Clavier, four Chopin Etudes and one nocturne, and Poulenc's Toccata. Throughout, Mr. Walker reveals a strong identification with the music. That only leaves Natan Brand whose Kreisleriana is a powerful force to be reckoned with. Tremendously strong bass strokes, sharp accenting, secondary motifs elevated to equal status, and sweeping heaps of concentrated energy insure that the listener will stay alert. Brand is a little like Fiorentino, but more powerful *and* lyrical. The 1st Movement is a good indication of what's in store for you. The primary theme has the power of a 'Samson' with extremely bold phrasing and accenting. In the interlude, Brand's poignancy strikes to the heart while he exceptionally conveys the Florestan-Eusebius conflicts. The 2nd Movement finds Brand offering a urgency rarely heard from the lovely primary theme; the man seems to create climaxes out of thin air. There is a technical error early in the theme, but it soon disappears from the mind when confronted with such compelling music-making. Brand approaches the first interlude with a vengence you won't get from any other recorded performance, and his second interlude is tightly coiled and gives Florestan an extremely unbalanced emotional foundation through his lower voice rhythmic patterns and powerful accenting. Brand is like granite in the 3rd Movement - loud and determined in the primary theme, bold and angular in the interlude. The 4th Movement is largely a Eusebius affair, and a concern does start to rear its head. In the softest passages, Brand can be a little too bold; this results in a loss of comfort, and Eusebius is certainly a comforting soul. The 5th Movement takes us back to a strong mix of combat and lyricism where Brand is at his best and seems larger than life itself. Kreisleriana's 6th Movement can get bogged down if the pianist doesn't highlight Florestan's contributions. One has no need to worry that Natan Brand would downplay any aspect of Florestan's personality; you won't find a stronger 6th Movement which also portrays the full measure of Eusebius. Needless to say, Brand dives into the desperate 7th Movement with zeal. Also, the tocccata section is lightning quick and tension-filled. Amazingly, Brand is able to switch gears and give us one of the most delectable conclusions I've ever heard. This loving treatment is so important when it hits against the unbalanced figures of the final movement. Speaking of the final movement, those steel-like bass strokes of Brand's are highly effective, and the two interludes possess immense strength and incisiveness. The recorded sound is very impressive - rich, deep, and clear. Unfortunately, there is a frequent fluttering effect that is quite noticeable with use of headphones. On balance, I'm not complaining. Well, I've spent quite a bit of time on Brand's performance, and I think he fully deserves the effort. Any drawbacks? I mentioned some lack of comfort and the sound flutter. A last negative is some wrong notes from Brand, and they come loud and clear enough to make me wince. No matter, Natan Brand is too good to allow these problematic considerations to carry much weight. His temperament reminds me of Walter Gieseking, and the rewards to be had from both pianists' versions of Kreisleriana are enourmous. Brand's 2-cd set from APR also has Schumann's Symphonic Etudes, Mussorgsky's Pictures at an Exhibition, and some music of Haydn, Schubert, and Chopin. Buy it fast! The Brand set is one of my best acquisitions of the year 2003. Don's Conclusions: There isn't a loser in this group of eight, and I would only be cautious of the Fiorentino performance which is quite lacking in human kindness. Natan Brand's version is the most compelling with Maria Gambaryan's close behind. Although these are the two to concentrate on, I am also very glad to have the Walker, Fischer, and von Karolyi versions. Part 5 will likely cover the Naxos Duo - Gulda & Jando. Up to this point, I haven't found either pianist to excel in Schumann's music, but the future is always an unknown. Other Kreisleriana performers around the corner include James Mathis on Pierian and Yves Nat on EMI. See you soon. Don Satz [log in to unmask]