I’m not entirely sure which recording it was of the Schumann
Piano Concerto in A minor it was I listened to about
900 times while tackling the work’s analytical nuances
for O Level exams in the UK in the early 1980s, but there have
been so many recordings since it hardly matters. One new one
I’ve heard recently is that with Sophie Pacini on the
Onyx label (see review),
and this makes a nice comparison with Angela Hewitt’s
Hyperion release as the differences are so palpable. Pacini
is urgent and dramatic in the Allegro affetuoso first
movement, exploring the poetry of the gentler moments with probing
notes which highlight each harmonic progression. Hewitt on the
other hand is, dare I say it, less old fashioned. Her approach
seeks the flow in the music, obtaining a legato in those accompanying
moments where the orchestra takes the lead and adding texture
rather than making musical points. The superb balance between
piano and orchestra allows this to happen naturally and with
an easy grace which is a sheer delight. Hewitt lingers lovingly
at the chamber music moments in this movement and, while more
drama might be achieved at such points, her contrasts are greater
as a result - the rhythm of repose and triumphant thematic elevation
beautifully proportioned.
Proportion is an important buzzword in Hewitt’s Schumann.
She holds plenty back, but always for a reason. That solo passage
from 4:36 might seem a bit too reserved, the tempo too static,
but did you ever hear that clarinet entry at 5:35 quite so movingly?
All of those essential little tonal and timbral brushstrokes
are expressed to perfection, and the drama at 6:06 is all the
greater for that minute and a half of suspended expectation.
With Hewitt, and of course the superb instrumental weighting
brought out by Hannu Lintu, you hear the ‘Bach’
in Schumann as well as the turbulent romanticism. That main
theme never sounded quite so much like a Bach chorale than here,
and there are little moments all over the place where, if your
associative baggage allows it, a penny or more will drop and
an ‘ah…’ moment will occur where it probably
hadn’t before with other recordings.
The first movement of the Schumann Piano Concerto in A minor
is in a class of its own, history telling us that the other
movements were added later to this stand-alone Fantasie
as it was originally named. These appendices are by no means
makeweights however, and Hewitt’s gently amorous dialogue
with the orchestra in the second movement is a joy - like a
smiling Schubert duet, with the orchestra looking over the pianist’s
shoulder and adding an encouraging second part. The final Allegro
vivace reminds me in tempo of Wilhelm Kempff’s second
stereo recording on Deutsche Grammophon which always seemed
a tad on the slow side. If you want the dancing qualities of
this movement to come out then Murray Perahia is your man, together
with Colin Davis on Sony Classics. Hewitt is less ballroom swish
but is still sprightly in her detail, the notes sparkling over
the orchestral accompaniment, and all of those vital contrapuntal
sections and little sighing fragments all being given their
due.
There are too many different recordings of the Schumann Piano
Concerto to list and compare here, and great names such
as the wilful Martha Argerich, the noble Wilhelm Kempff, the
poetic Dinu Lipatti, the rhapsodic Alfred Brendel and the superlative
Sviatoslav Richter all have made their significant contributions,
and still jostle on equal terms with the current generation
of players. Angela Hewitt presents quite a personal view of
the work, and my appreciation goes out to her daring in taking
an individualist rather than the standard racing line. This
is the kind of recording which may surprise a little, but is
also one which will gain your affection and provide increasing
interest and insight with each airing.
Usefully coupled with less familiar Schumann works for piano
and orchestra rather than one of the other more usual concerto
warhorses, the Introduction and Allegro appassionato
has as much drama and contrast if not quite the thematic qualities
of the first movement of the Piano Concerto. The influence
of Brahms is hinted at, as well as associations with Schumann’s
Manfred overture which comes from the same period. Hewitt
and Lintu hit this work pretty hard, and the energy crackles
in what amounts to a superb performance. The Introduction
and Concert-Allegro is a late work and somewhat slippery
in terms of what one can grasp of its expressive point, despite
being a highly effective piece and with some remarkably forward
looking moments. There are bits which you could slot into a
1970s TV theme, and other fragments which you can imagine Keith
Jarrett grabbing hold of and turning into an entire evening’s
improvisation. Hewitt and Lintu take Schumann’s obsessive
repetitions, darting reversals and meandering progressions and
squeeze all of the goodness out of them, projecting this as
something with considerable power and resonance and a remarkable
testament.
I wasn’t entirely uncritical of Angela Hewitt’s
solo Schumann programme from Hyperion (see review),
but have few if any such reservations in this piano/orchestra
release. Her next release in the Mozart
concertos series will also be conducted by Hannu Lintu,
and so also promises to be something more than a bit special.
This Schumann release, complete with excellent booklet notes
by the soloist and its strikingly atmospheric Caspar David Friedrich
illustration for the cover, is highly desirable and extremely
rewarding.
Dominy Clements
Masterwork Index: Schumann's
piano concerto
Angela Hewitt (piano) 