Search - Robert Schumann, Johannes Brahms, Arnaldo Cohen :: Brahms: Variations and Fugue in B flat on a Theme of Handel; Schumann: Fantasia in C; Arabesque

A Desert Island disc

Ulpiano Frederick A. Pontillas | Brighton, MA | 05/16/2003

(5 out of 5 stars)

"The Schumann Fantasy is quite intoxicating, a perfect interpretation of Schumann's feverish romantic outpouring. Listen, for instance, to Cohen's presentation of the second subject at 1 minute and 32 seconds in the first movement - exquisite, breathtaking, and heartbreaking. He also displays a beautiful piano tone all throughout the piece. As a comparison, Evgeny Kissin's version (which is well-received in a lot of quarters, especially classical music magazines) lacks that degree of intensity and passion that makes Cohen's version a cut above. And yes, Cohen's disc is a third of the cost of Kissin's disc!!! (Artists like Arnaldo Cohen deserve a much wider audience. The public should know that there are other outstanding classical musicians in addition to hyped "superstars" like Evgeny Kissin, Anne-Sophie Mutter, etc., etc.) I also enjoyed the other two compositions in the CD. In Brahms' Variations, Cohen displays a variety of tone colors. His interpretation of the score underlines the quasi-symphonic scope of this composition. I also like the juxtaposition of this piece with the first one - the light-hearted mood of this composition serves as a respite after the passion of the Fantasia. Schumann's delightful Arabesque then brings the excellent program to a close.This is a CD that I return to again and again."

Red-blooded, Virtuosic Playing

J Scott Morrison | Middlebury VT, USA | 06/08/2003

(5 out of 5 stars)

"Arnaldo Cohen had never been on my radar scope until this CD came my way. I know I will have to seek out whatever else he's recorded, at least in the High Romantic repertoire. Like the earlier reviewers, I'm giving an all-out rave to this disc. The two main pieces here - the Schumann Fantasie in C and the Brahms Variations on a Theme of Handel - although from the Romantic stable, are very different from each other. The Fantasie is an unbuttoned emotional outpouring; the Brahms an orderly, even academic set of variations (although not without moments of high drama). It would be somewhat unusual for a single pianist to play them equally well. When I listened to the Fantasie I was bowled over but wondered, 'OK, how will he do with the Brahms.' I needn't have worried. The Fantasie is so emotionally driven that it is almost willful, but it never gets out of control and is utterly convincing. There is a good deal of manipulation of tempi and dynamics for expressive reasons. It reminds me somewhat of a concert performance I once heard by Yuri Egourov, although it is much more virtuosic, and Lord knows that's needed in the treacherous second movement. I have one question, though: What is with the ending of the third movement? Cohen interpolates some harmonic changes and a short recap of the ending of the first movement into the ending of the third. I've never heard this done before and it certainly isn't what's printed in my Edition Peters score. I do know that Charles Rosen recorded some of Schumann's earlier versions of his piano music some years ago but never heard those recordings; could this be one of those variants? It makes no real difference in the long run; the performance is still one of the great ones. But the first time that variant ending sailed past my jaw dropped.The Brahms starts properly, with chaste trills and runs, but by Variations 3 & 4 Cohen's Latin temperament begins coming out and, although it never gets out of hand, there is more heat and passion than one ordinarily hears in this piece. When appropriate he returns to the more neatly classic approach in the variations that require it (e.g. Var. 12). The overall effect is certainly exciting! At first I wasn't sure what to make of it, but as I listened again and again it came to feel right. I went back to recordings by people like Serkin and Brendel and they began sounding, well, tame. I think it comes down to the fact that many great pieces can tolerate widely differing interpretive approaches and it was nice to hear this one.Schumann's Arabesque concludes this well-filled disc (TT=66mins.) and is rather more mainstream (although somewhat faster than usual) than the two big pieces. No matter; it is nicely done and a satisfying conclusion to the recital. Arnaldo Cohen is clearly a major pianist. If I were in charge of things, I'd make sure he had major bookings and recordings. He deserves to be heard. Finally, there is the amazingly low budget price of this CD. You really can't afford NOT to buy this one. Highest recommendation. Reviewed by Scott Morrison"

High-Voltage Romanticism

Stuart Bloom | 04/06/2000

(5 out of 5 stars)

"Wow! This is how these works should be played. Mate impeccable technique with red-blooded feeling and interpretive genius, and you have this recording. I've never heard the Handel variations played better, and the Schumann pieces are very fine too."