Search - Robert Schumann, Jonathan Biss :: Schumann: Fantasie; Kreisleriana; Arabeske

One of the most promising talents of his generation

Santa Fe Listener | Santa Fe, NM USA | 02/07/2007

(5 out of 5 stars)

"Jonathan Biss, barely in his mid-twneties, grew up around great musicians, like Peter Serkin before him (Biss's mother is the violinist Miriam Fried). He seems to have absorbed a lot. This Schumann recital is fully mature and very musical. Biss's ability to phrase with freedom and nuance captures Schumann's spontaneous effusions without exaggeration. The great Fantasy in C comes off as one long lyrical inspiration, held together by Biss's unforced line. He doesn't overuse rubato, and he doesn't have to apply faked poeticism. Kreisleriana shows the same mastery, although I must admit that I am less familiar with the work. For the Fantasy I am confident recommending Biss's reading over many rivals. In fact, it's fair to speak of him in the same breath as great Schumann pianists like Richter and Kempff, which isn't to say that he is their equal just yet, as the young Peter Serkin wasn't his fahter's equal at this age. But Biss is well on his way."

A Pianist of Deep Intelligence and Perception Who Conveys a

Evangel: | California | 07/20/2007

(5 out of 5 stars)

""A piano fan" from California reminds one of just how parasitic critics are, individuals who have neither the ability to perform (put their own interpretations on the line in recordings -- judging is a far easier task than performing) or to teach (any teacher who spoke to students the way "a piano fan" did would have cowering, intimidated pianists who cannot take simple joy in the music, but are only preoccupied with technical display). Technique must always be in the service of music. Their are great technical pianists who demonstrate no love or understanding of the music. As with Kempf and Richter, that is not the case with Jonathan Biss.



The liner notes are by the pianist, Jonathan Biss, and reveal more clearly than any other liner notes I have ever read a deep understanding of the music he performs -- more a sharing than a "Watch me!" For Biss, the music clearly comes first -- and Biss betrays, both in words and in performance, a deep love and understanding of the music of Robert Schumann -- the great and high genius of Schumann. Biss is the first person I have read who has understood the deep connection between the music of Wolfgang Mozart and Robert Schumann -- the very deep understanding of the full range of human emotions and intelligences of both composers, the ability of these two composers to capture the fleeting, changing inner life of real life humans in ways that no other composers seem so regularly to reflect. I would love to hear Biss's interpretations of Mozart concertoes. I would characterize the difference between Mozart's works and Schumann's piano works as the following: Mozart captures the seamless integralness of the human psyche, while Schuman captures the episodic quality of human experience. Biss's playing conveys the brilliance and intellectual unity of this episodic vision in a beautiful, lyrical way.



The second movement of the great Fantasie captures the triumphant joy of the return of Clara to Robert's life -- a palpable joy and triumph which Schumann captures better than any other composer -- and which Biss captures so wonderfully. The last movement of Beethoven's 9th Symphony, the "Ode to Joy," as beautiful, thrilling, and memorable as it is, conveys an abstract, superhuman, utopian joy, whereas Schumann's joy is palpably human and communicates an interpersonal bliss when Clara's presence returned to his life. This, for me, is a clear example where Mozart's and Schumann's approaches share communing spirits and where their approaches to music differ so profoundly from other composers, a difference that Biss captures both in his liner notes and in his incandescent playing. Moreover, Biss captures the inherent gentleness -- a gentleness full of life -- that is constantly surfacing in Schumann's music. Mozart and Schumann both shared deep interpersonal love -- and are two of the few composers who had happy marriages. Their music, for me, demonstrates this deep love of life and wife -- and Biss's playing captures this in spades!



Like Mozart -- perhaps even more than Mozart in his solo piano music -- Schumann's solo piano music is full of melodic inner voices carrying on conversations, just as our human pysche is full of differing inner voices, sometimes in conflict, sometimes in harmony. Biss captures, for me, just the right dynamic balance among these voices, conveying the profoundly intelligent, compassionate humanity that is at the heart of this glorious music.



With Schumann, the often extreme technical demands of the music are NEVER for pyrotechnic display, but are at the heart of the intense, intelligent, conflicted inner life that the composer's music conveys. Unlike "a piano fan," I did not find Biss's playing to reveal any problems or hesitations in the most demanding sections of the music. Rather, I found his playing to capture the very soul of what Schumann's music conveys to me. Mr. Biss's interpretations convey a greater sense of pervading, overall melancholy than I experience when I play Schumann's music. Yet, his playing is so convincing in conveying Schumann's art that I now experience this music in a far greater and richer way than I did before I heard his performances. Mr. Biss steps out of the way of this glorious music, which both his liner notes and his performance reveal he deeply loves and wishes to share that love with those of us who listen with open minds and hearts. His performances palpably convey his desire to share his experience of Schumann's genius with us, his listeners -- putting Schumann, not himself, at the forefront of our attention.



Jonathan Biss's is emotionally and intellectually mature music making, emotional and intellectual maturity that is required to convey the depths of Robert Schumann's genius. These are profound, deep performances that engage the human soul.



Thank you, Jonathan, for enriching my life!"

An American Giant Strides on Stage

Grady Harp | Los Angeles, CA United States | 12/30/2007

(5 out of 5 stars)

"Jonathan Biss, at age 27, has already made his mark on the music scene. An American born, genteel, authoritative, poetic on the stage, he sweeps audiences away with his selfless commitment to the music under his hands. He is a musician's musician - but he is very much a commanding presence before audiences.



In this new release Biss elects to share the works of Robert Schumann, not only in performing the three works programmed here, but also in the intelligent and tender notes that accompany the CD. This kind of immersion in the work of composers is what Biss is about: first the music, second the performer. And despite the numerous recordings of these three works in the recorded repertoire, Biss shines as though the these well loved masterpieces have been in his heart for far more years than possible at his young age.



Biss has phrasing that is always clear, always beginning with subtlety and brought to conclusion with a degree of technical finesse as well as emotion. He has an enormous sound when the passages call for it (the second movement of the Fantasie in C, for example) and yet he is able to make his instrument whisper and caress the tender lines (as in the third movement of that same Fantasie). His reading of the Kriesleriana is as powerful as any on record - strong praise, but just listen once to be convinced. The 'Arabeske in C' is crystalline and delicate and played with such full control throughout the hand span that it demands immediate replaying to make sure that what is on this recording is not just serendipitous magic. No, it is the real thing.



Jonathan Biss. This recording is a must for all lovers of the piano repertoire. But if Biss is performing in a city near you, by all means GO! He is a marvel to witness in person - and a solid artist! Grady Harp, December 07"