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 [log in to unmask]