b>Robert SCHUMANN (1810-1856)
Humoreske Op.20 (1839)
Einfach. Sehr Rasch und leicht [6.16]; Hastig [4.55]; Einfach
und zart. Intermezzo [4.55]; Innig [2.49]; Sehr lebhaft. Mit
einigem Pomp [3.29]; Zum Beschluss [6.49]
Fantasiestucke Op.12 (1837)
Des Abends [3.40]; Aufschwung [3.06]; Warum? [2.46]; Grillen
[3.12]; In der Nacht [3.49]; Fabel [2.36]; Traumes Wirren [2.19];
Ende vom Lied [4.48]
Emanuel Ax (piano)
rec. October 1981, RCA Studio A, New York City
NEWTON CLASSICS 8802084 [55.29]
Emanuel Ax recorded these early Schumann masterpieces more than
thirty years ago. In these performances he demonstrates all
the qualities that have made him such a consummate all-round
performer and musician. He displays enormous variety of tone
not to mention his refined and elegant phrasing and rubato.
There’s also that superb technical ability and digital
articulation when required.
He starts with the Humoreske which was composed when
Schumann was embroiled in legal battles with his intended father-in-law
over his wish to marry Clara. The term Humoreske denotes
sudden changes in mood and is more a reference to ‘humours’
than humour. In general terms Ax is better in the lyrical sections
representing Eusebius than in the fiery mania of the Florestan
passages. Those quicksilver changes of mood are not always convincing
here. A gorgeous tone is conjured from the Steinway in the dreamy
opening and the melody is delineated with great sensitivity
and refinement. The ensuing sehr rasch und leicht section
is played with rhythmic vitality and flair. I am not entirely
convinced that Ax captures the underlying sense of unease in
the second section or the mercurial quality underpinning the
sudden mood-changes. The third section is very well executed
while the Innig fourth section is played with evident
warmth and humanity. Some of the playing in the penultimate
section is extremely fine but I would have liked to hear more
of the possessed and unbridled elements that one finds in other
performances - compare Lupu. The phrasing in the final section
was immaculate with Ax relishing the rich harmonies. While there
is admirable playing here - one expects nothing less - it was
a rather mixed event.
I preferred Ax’s interpretation of the Fantasiestucke
set which, for my money, was played with much greater musical
insight and imagination. These eight short pieces were composed
two years earlier than the Humoreske. They were inspired
by Schumann’s admiration for the author E.T.A. Hoffmann.
Des Abends is played with poetic sensibility. The figurations
unfold naturally and with grace. There’s vigour and drive
in Aufschwung which is allowed to soar with energy coursing
through some of the figurations. In Warum? Ax uses the
cross-rhythms to quicken the pace and deftly brings out its
questioning nature. There’s an authoritative Grillen
in which artful rubato lays bare the whimsical and quirky nature
of the piece. It’s wonderfully characterised. In der
Nacht was a little too neat and tidy and Ax was only partially
successful in conveying its highly atmospheric qualities. The
whimsical narrative at the heart of Fabel is beautifully
conveyed while the whirling figurations of Traumes Wirren
are dispatched with virtuoso élan. Schumann described
Ende vom Lied as a combination of wedding bells and funeral
bells. Ax gives it muscularity and invests the huge chords with
a radiant tonal warmth. That said, I was not persuaded that
he completely captures Schumann’s residual anxiety at
the end. There have been many great performance of Fantasiestucke
- Richter is absolutely outstanding as is Leon McCawley in his
more recent recording - and I am not sure this one is up there
with the very best. Nevertheless it contains some rewardingly
excellent playing.
Robert Beattie
Rewardingly excellent playing.