Search - Robert Schumann, Claudio Abbado, Berlin Philharmonic Orchestra :: Schumann: Piano Concerto

The concerto is marvelous, but the real treat here is...

Chip Hartranft | Arlington, MA | 02/13/2000

(5 out of 5 stars)

"...Pollini's recording of the Symphonic Etudes. Nowhere in the entire catalog of Schumann recordings will you find a greater performance of this set, which DG finally issued in CD format after years of unavailability. In these pieces, as in his celebrated versions of the Fantasy in C and the Sonata, Op. 11, Pollini is magisterial, profound, and utterly compelling. Unlike many other interpreters, he wisely inserts the five posthumous variations between Variations V & VI of the published group, integrating them seamlessly into the whole. His playing, as always, is notable for its penetrating insight, and for the intense emotionalism he's able to summon without the least loss of clarity. Coupled with sublime reading of the 'Arabeske' and cool, clear Concerto, this is Schumann playing for the ages. Enjoy!"

My favorite Pollini CD

Gaetano | 09/04/2008

(5 out of 5 stars)

"I own three recordings of the Symphonic Etudes: Pollini, Kissin (Carnegie Hall Debut), and Hamelin. By a long stretch of a mile, I would choose the Pollini recording over the other two. It would be foolish to quibble over the hierarchy of dexterity and technical proficiency amongst the three, as they each deliver whistle clean performances of the highest standard; and thus satisfying the Etude half of the title. Why then, am I specifically partial to Pollini? It is because Pollini truly exhibits his oft-written ability as the supreme architect of coherence, while also being attentive to the microscopic details of the written score. Although the early digital DG recorded sound is slightly boomy, especially in the pedaled passages, it serves to accentuate Pollini's bell-like tone and powerful lucidity in the exciting finale. Compared to Pollini's magisterial allegro brilliante, the stacattos (indicated in the score, of course) of both Kissin and Hamelin can appear somewhat piercing, clunky, and rushed. It is a truly symphonic rendition indeed, where Schumann's uniquely rich, pianistic and contrapuntal language is clearly audible. It is a recording of the highest standard and my favorite*.



*For what it's worth, I own every Pollini CD except for the Chopin Ballades."

A commanding Symphonic Etudes, utterly flawless

Santa Fe Listener | Santa Fe, NM USA | 04/23/2009

(5 out of 5 stars)

"Great pianists cast a spell that captures the imagination of listeners, but not all listeners. Rubinstein entraced his countless fans; I fall asleep. Shura Cherkassky sends me running from the room. But I am captivated by Pollini's spell, with its piercing intelligence and coiled intensity. He gives and holds back at the same time. That adds an element of suspense and mystery to his playing that I relish.



But there are times when Pollini gives his all, and this 1981 account of the Symphonic Etudes is one of those times. Without sacrificing control, the pianist allows Schumann's most ecstatic passages to blossom; his tempos run free at the great climaxes; and he is altogether in Schumann's romantic world without succumbing to salon sentimentality. In short, this is an unassailable reading. Among postwar pianists only Richter matches it. The greatest set of piano vairations between Beethoven and Brahms is given full justice.



Happily, DG provides excellent sound, and the piano is a good one. Pollini accounts for the five posthumous variations that were salvaged by Brahms by inserting them after Etude V. But it's nice that one can program them out to hear the unvarnished original. Pollini's lower-key Arabeske dates from 1983.



From 1989 comes the Schumann Cto., which some listeners might find too cool and controlled. Pollini doesn't exploit rubato to the fullest extent, and Abbado's accompaniment is reserved at times (but not in the finale, which is an exciting romp). I don't want to exaggerate these qualities; they aren't flaws. From beginning to end the pianist and conductor achieve a sympathetic bond, and Pollini is to the manner born in his phrasing and handling of a melodic line. The Berliners play beautifully, and DG's sound is admirable. If only te solo prt were more abandoned here and there, but there's room in the world for a more classical view.



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