Search - Maurizio Pollini, Robert Schumann :: Schumann: Davidsbundlertanze, Concert sans orchestre

Outstanding - Pollini's best release of recent years

Rupert Stone | Utopia | 11/26/2001

(5 out of 5 stars)

"Maurizio Pollini's latest recordings have proved consistently engaging and never lacking in insight or drive - but none are classics in there own right. The Ballades, with the F Minor aside, are impressive without being remarkable, whilst the Debussy Preludes are, again, interesting but lacking in colouristic diversity. This disc, however, is entirely different. The Davidsbundlertanze, written at a time of great emotional torture for the composer, are carried off with ferocious impetuosity and momentum - never is the tension allowed to drop in the fast and furious 'Florestan' tanze. The more quiet moments, such as the penultimate piece, are whistful, elegaic but chillingly mournful, expressing a solitude of icy cold intensity. As ever, this recording is a paragon of performance structure - the architecture is, as far as I can tell, near perfection - he rounds off the cycle with the supremely judged, slightly melancholic finale. The Concerto sans orchestre, although a work of inferior stature to the wonderful Davidsbundler, is no less fascinating in this rendition; as before, the rapid tempi create an endless striving feel and one can often hear Pollini gasping for help amidst the flurries of notes. The final episode of the middle movement is particularly affecting, whilst the last piece carries one away with the awesome muscularity of his playing. This is one of the finest Schumann discs of recent years and ranks with Gieseking and Cortot as classic Davidsbundlertanze. Although the cd is pricey and the running time slightly short, it is definitely worth the expense. A must."

A True Romantic

Itamar Axelrod | Haifa Israel | 10/03/2001

(5 out of 5 stars)

"After a 16 year drought Pollini returns to his favorite composer - Schumann.He plays the most romantic pieces ever written for the piano, pieces which have been written during Schumann's most passionate period - his endless love to Clara.
These pieces reflect love,humor,passion,drama and Pollini's musical story-telling brings out the true colors of the music - pure romance!
Listen to the Davidsbundlertanze no.13 and you'll hear the passion bursting out, in no.18 (the last) you'll hear the beatiful poetry of love.The Concert sans orchestre is played beatifully and dramaticly.There is one drawback,the recorded sound,which has a closed, airless presence.
Pollini reminds you of the stature and greatness of this music, and that sets the seal on any recommendation.
There is another Pollini-Schumann recording planned to be released next year (including the Kreisleriana) - and I can't wait!"

Pollini Plays Schumann

D. A Wend | Buffalo Grove, IL USA | 02/06/2007

(5 out of 5 stars)

"Robert Schumann wrote the works recorded here between 1836 and 1838, inspired in their composition by his passionate love for his future wife Clara Wieck. The Davidsbundlertanze of 1837 was written to reflect the manifesto of the Band of David, an imaginary brotherhood that Schumann invented to combat what he saw as the shallowness of German music. The work was dedicated to Goethe's grandson by the composer through two of his fictitious brotherhood members Florestan and Eusebius. Schumann carried this "authorship" down to the character of the dances so Floretan's music tends to be louder (numbers 3,4,6,10 and 12) than the more lyrical songs of Eusebius (2, 5, 7, 11 and 14). The Davidsbundlertanze were later revised



Schumann's F minor sonata exists in two versions: one in five movements and one in three movements (recorded here) that was named Concert sans orchestre but its published Tobias Haslinger. Schumann agreed to the publication title and removed the two scherzos and dedicated the work to Moscheles. The Sonata was later revised to include one of the scherzos in 1853 and Brahms restored the second after Schumann's death. This recording uses the first versions of both works which explains why the Scherzos are absent from the Sonata.



The recording by Maurizio Pollini is excellent and he contrasts the differing moods of the Davidsbundlertanze superbly. The Concert san orchestre is masterfully played beautifully bringing out the passion of the Allegro brilliante; the Andantino (four variations on a funeral march melody by Clara) is played with great tenderness and expression, and the restless final movement Pollini is brilliant .



The sound recording is excellent and the only problem with the disc is that at 52:02 it is far too short.

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