Robert SCHUMANN (1810-56).
	  Toccata in C, Op. 7. Etudes symphoniques, Op. 13 (including Five Posthumous
	  Variations). Fantasie in C, Op. 17.
	   Earl Wild (piano).
 Earl Wild (piano).
	   Ivory Classics IC71001
	  [ADD/DDD] [72'45]
 Ivory Classics IC71001
	  [ADD/DDD] [72'45]
	  
	  Crotchet
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	  Earl Wild has had a long career. For example there is a performance of the
	  Gershwin Rhapsody in Blue with the NBC Symphony Orchestra under Toscanini
	  dating from November 1942 on Dante Lys 618. The performance of the
	  Toccata on this disc dates from 1974 and taken live from the Queen
	  Elizabeth Hall. It was a mistake to put this at the beginning as it is enough
	  to deter all but the most ardent Wild fan. The high recording level, the
	  dry, metallic sound, the harsh accents and the meaningless opening gesture
	  all conspire to provide a very uncomfortable seven minutes worth.
	  
	  The rest of the disc was recorded in October, 1990. The Symphonic
	  Studies fare better, but hardly stand up to such august competition as
	  Pollini, for example, on DG 445 522-2 (nla), to name but one
	  that springs to mind. The theme needs to be a smooth and laden with contained
	  meaning, its possibilities straining to get out. Here it is merely plodding.
	  Wild does find some mystery in the first posthumous variation, and he plays
	  the fifth posthumous variation magically. In the eighth variation he effectively
	  suggests Handelian pomp wrenched into the Romantic sphere. Overall, though,
	  the impression is piecemeal, and the Finale exemplifies the problems with
	  the whole. It is rushed and what can and should be a powerful cumulative
	  effect degenerates into mere repetition. To make it worse, he even rushes
	  his way through.
	  
	  The Fantasie again causes problems for Wild. He simply does not possess
	  the long term thought to make this a coherent interpretation, sounding rushed
	  at times and at one point reverting to the martellato touch so painfully
	  applied to the Toccata at the start of the disc. There is some sense
	  of fantasy in the final ten minutes, but by then it is far too little, too
	  late.
	  
	  Reviewer
	  
	  Colin Clarke
	  
	  Performance 
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	   (Rest)
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	  Recording 
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(Rest)