Maurizio Pollini - Schumann Complete Recordings (2012)
Artist: Maurizio Pollini
Title: Schumann Complete Recordings
Year Of Release: 2012
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (tracks)
Total Time: 03:51:53
Total Size: 854 Mb
WebSite: Album Preview
Tracklist: Title: Schumann Complete Recordings
Year Of Release: 2012
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (tracks)
Total Time: 03:51:53
Total Size: 854 Mb
WebSite: Album Preview
CD 1
1. Schumann: Fantasie In C, Op.17 - 1. Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton - Erstes Tempo
2. Schumann: Fantasie In C, Op.17 - 2. Mäßig. Durchaus energisch - Etwas langsamer - Viel bewegter
3. Schumann: Fantasie In C, Op.17 - 3. Langsam getragen. Durchweg leise zu halten - Etwas bewegter
4. Schumann: Piano Sonata No.1 In F Sharp Minor, Op.11 - 1. Introduzione (Un poco adagio - Allegro vivace - Più lento)
5. Schumann: Piano Sonata No.1 In F Sharp Minor, Op.11 - 2. Aria
6. Schumann: Piano Sonata No.1 In F Sharp Minor, Op.11 - 3. Scherzo (Allegrissimo) ed Intermezzo
7. Schumann: Piano Sonata No.1 In F Sharp Minor, Op.11 - 4. Finale (Allegro un poco maestoso - Più allegro)
CD 2
1. Schumann: Symphonic Studies, Op.13 - Theme
2. Schumann: Symphonic Studies, Op.13 - Etude I
3. Schumann: Symphonic Studies, Op.13 - Etude II
4. Schumann: Symphonic Studies, Op.13 - Etude III
5. Schumann: Symphonic Studies, Op.13 - Etude IV
6. Schumann: Symphonic Studies, Op.13 - Etude V
7. Schumann: Symphonic Studies, Op.13 - Appendix - Variation I
8. Schumann: Symphonic Studies, Op.13 - Appendix - Variation II
9. Schumann: Symphonic Studies, Op.13 - Appendix - Variation III
10. Schumann: Symphonic Studies, Op.13 - Appendix - Variation IV
11. Schumann: Symphonic Studies, Op.13 - Appendix - Variation V
12. Schumann: Symphonic Studies, Op.13 - Etude VI
13. Schumann: Symphonic Studies, Op.13 - Etude VII
14. Schumann: Symphonic Studies, Op.13 - Etude VIII
15. Schumann: Symphonic Studies, Op.13 - Etude IX
16. Schumann: Symphonic Studies, Op.13 - Etude X
17. Schumann: Symphonic Studies, Op.13 - Etude XI
18. Schumann: Symphonic Studies, Op.13 - Etude XII (Finale)
19. Schumann: Arabeske in C, Op.18
20. Schumann: Piano Concerto in A Minor, Op. 54 - 1. Allegro affettuoso
21. Schumann: Piano Concerto in A Minor, Op. 54 - 2. Intermezzo (Andantino grazioso)
22. Schumann: Piano Concerto in A Minor, Op. 54 - 3. Allegro vivace
CD 3
1. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 1. Lebhaft
2. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 2. Innig
3. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 3. Etwas hahnbüchen
4. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 4. Ungeduldig
5. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 5. Einfach
6. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 6. Sehr rasch und in sich hinein
7. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 7. Nicht schnell mit aeusserst starker Empfindung
8. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 8. Frisch
9. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 9. [Lebhaft]
10. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 10. Balladenmässig, sehr rasch
11. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 11. Einfach
12. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 12. Mit Humor
13. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 13. Wild und lustig
14. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 14. Zart und singend
15. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 15. Frisch
16. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 16. Mit gutem Humor
17. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 17. Wie aus der Ferne
18. Schumann: Davidsbuendlertaenze, Op.6 - First Edition (1837) - 18. Nicht schnell
19. Schumann: Concert sans Orchestre, Op.14, Piano Sonata No.3, First edition (1835/36) - 1. Allegro brillante
20. Schumann: Concert sans Orchestre, Op.14, Piano Sonata No.3, First edition (1835/36) - 2. Quasi Variazioni. Andantino de Clara Wieck
21. Schumann: Concert sans Orchestre, Op.14, Piano Sonata No.3, First edition (1835/36) - 3. Prestissimo possibile
CD 4
1. Schumann: Allegro In B Minor, Op.8
2. Schumann: Kreisleriana, Op.16 - 1. Äusserst bewegt
3. Schumann: Kreisleriana, Op.16 - 2. Sehr innig und nicht zu rasch - Intermezzo I (Sehr lebhaft) -
4. Schumann: Kreisleriana, Op.16 - 3. Sehr aufgeregt
5. Schumann: Kreisleriana, Op.16 - 4. Sehr langsam
6. Schumann: Kreisleriana, Op.16 - 5. Sehr lebhaft
7. Schumann: Kreisleriana, Op.16 - 6. Sehr langsam
8. Schumann: Kreisleriana, Op.16 - 7. Sehr rasch
9. Schumann: Kreisleriana, Op.16 - 8. Schnell und spielend
10. Schumann: Gesänge der Frühe, Op.133 (1853) - 1. Im ruhigen Tempo
11. Schumann: Gesänge der Frühe, Op.133 (1853) - 2. Belebt, nicht zu rasch
12. Schumann: Gesänge der Frühe, Op.133 (1853) - 3. Lebhaft
13. Schumann: Gesänge der Frühe, Op.133 (1853) - 4. Bewegt
14. Schumann: Gesänge der Frühe, Op.133 (1853) - 5. Im Anfang ruhiges, im Verlauf bewegtes Tempo
Much like DG's failure to recording Gilels in Beethoven's Opus 111, the same company could be indicted for not commissioning more Schumann from Pollini in his prime. Where is his Carnaval or Fantasiestücke (Op.12)? What of Kinderszenen or Waldszenen? Schumann's Albumblätter (Op.124) is an inadvertent masterpiece - why was it not recorded? Dare one pine for a performance of the Ghost Variations? Was it really necessary to underwrite Abbado thrice in Beethoven? As if it mattered. Those funds should have been directed towards Pollini.
What makes Pollini such a great interpreter of Schumann? Passion. Tension. Being alive to the forces of disintegration and chaos in the composer's psyche; indeed: much as Moses raised the brazen serpent as a cure for pestilence, Pollini understands Schumann is reliant upon the orphic power of music to keep darkness at bay There is none of that in Rubinstein's Kumbaya recital (Rubinstein Collection, Vol. 51: All Schumann: Carnaval, Fantasiestücke, Op. 12; Romance, Op. 29; Vogel als Prophets; Novellettes, Op. 21/1 & 2).
With that rant out of the way, we should be grateful for what we have. I've yet to hear a more superlative Fantasie with its evocative "On the Trail of the Smoking Gun" finale; no-one - not even Richter or Horowitz - is more post-coital at its close. Much the same could be said of the First Piano Sonata: how magisterial it is and in a way that minimises its structural weaknesses. Pollini wisely includes the addition five variations in the Symphonic Etudes and thank god for that: as I don't overly rate Beethoven's Opus 120 or that Paganini stuff, Opus 13 is the silver medallist to the Goldbergs and warrants an ex cathedra performance: here it is. Pollini's performance of the Gesänge der Frühe - into that darkness - is deathly as it should be. Short of Horowitz, Pollini's Kriesleriana is a heavyweight contender in the ring. Ok, the performance of the Piano Concerto is a dud (Abbado's first bloodletting exercise in Berlin). Nor would I say that Davidsbündlertänze is the best on the market: Pollini uses the earlier edition with fewer repeats; the tenth movement is less minatory than others at its close (in the bass) and the finale is somewhat prosaic (compared with Anda from '66). The Italian pianist uses a bowdlerised edition of the Third Piano Sonta (and both Scherzos have been amputated too); he might have had more thumbs than fingers on the night but Horowitz better conveys the stature of the work.
What makes Pollini such a great interpreter of Schumann? Passion. Tension. Being alive to the forces of disintegration and chaos in the composer's psyche; indeed: much as Moses raised the brazen serpent as a cure for pestilence, Pollini understands Schumann is reliant upon the orphic power of music to keep darkness at bay There is none of that in Rubinstein's Kumbaya recital (Rubinstein Collection, Vol. 51: All Schumann: Carnaval, Fantasiestücke, Op. 12; Romance, Op. 29; Vogel als Prophets; Novellettes, Op. 21/1 & 2).
With that rant out of the way, we should be grateful for what we have. I've yet to hear a more superlative Fantasie with its evocative "On the Trail of the Smoking Gun" finale; no-one - not even Richter or Horowitz - is more post-coital at its close. Much the same could be said of the First Piano Sonata: how magisterial it is and in a way that minimises its structural weaknesses. Pollini wisely includes the addition five variations in the Symphonic Etudes and thank god for that: as I don't overly rate Beethoven's Opus 120 or that Paganini stuff, Opus 13 is the silver medallist to the Goldbergs and warrants an ex cathedra performance: here it is. Pollini's performance of the Gesänge der Frühe - into that darkness - is deathly as it should be. Short of Horowitz, Pollini's Kriesleriana is a heavyweight contender in the ring. Ok, the performance of the Piano Concerto is a dud (Abbado's first bloodletting exercise in Berlin). Nor would I say that Davidsbündlertänze is the best on the market: Pollini uses the earlier edition with fewer repeats; the tenth movement is less minatory than others at its close (in the bass) and the finale is somewhat prosaic (compared with Anda from '66). The Italian pianist uses a bowdlerised edition of the Third Piano Sonta (and both Scherzos have been amputated too); he might have had more thumbs than fingers on the night but Horowitz better conveys the stature of the work.
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