Customer Reviews

Freddy Kempf plays Schumann

5 star:		(3)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is a young pianist not only with an obviously superb technique, but emotional depth that does justice to Schumann's music. He shines particularly in the Humoresque, with its fluctuating moods. But he is no less stunning in the rest of the works. The sound is first rate. I am won over and eagerly await further issues from Freddy Kempf.

Freddy Kempf does not disappoint in this wonderful debut Album. Carnaval, OP. 9 shimmers with rich dynamics, singing tone and a mature style. This is a CD that you will richly enjoy over and over. The sound given the Yamaha grand on this recording does not disappoint. There is a remarkable presence and clarity that allows the colors of the music to shine.

Kempf varies his touch delightfully. Listen to the infectious bounce of Reconnaissance, the bubbling Toccata, the surging lines of the Arabesque with the lilting accompaniment in Minore I then be taken away by the singing melody of Minore II.

I would highly recommend this disk and I look forward to more releases by the budding artist of integrity, taste and feeling.

Sadly, Amazon would not grant my request for an additional star. I have just "lost" an hour and twelve minutes to this disc. Lost, because my sense of time and all extraneous thoughts were non-existent as I listened to this extraordinary album in its entirety. Having innumerable recordings of these early, great piano works of Schumann, I do not lightly bestow accolades upon a new version, treasuring the traditional standbys from the likes of Horowitz, Richter, Argerich and (Wilhelm) Kempff. Nevertheless, I am wowed by this CD in ways that I can barely describe, for words fail to do justice to these performances. Freddy Kempf's technique--listen to the Toccata; his originality in bringing forth Schumann's unique humor and capriciousness--listen to Carnaval; his freshness, lightness of touch and songful expression--listen to Arabesque; and his interpretive insight--listen to Humoresque--are most remarkable. I know of few recordings of Carnaval I would listen to after hearing Kempf's: Daniel Barenboim on DGG, Nelson Freire on Decca, Geza Anda on Testament. Barenboim's is frenzied and whimsical; Kempf's is gentle and whimsical: different approaches--both valid--to this Schumann masterwork. The Toccata (with which Schumann rightly boasted that he had created a most formidable challenge to the performer) is thrown off with dazzling technique but also expressive tenderness in places. His version is the exact same length (6:21) as Horowitz's famous, though highly-edited (and thus rather choppy) studio recording of the piece. It is 14 seconds faster than Richter's 1959 studio version on DGG, yet sounds more musical and less frenzied and percussive than the Russian master's version. His Arabesque is simply stunning. Having heard a gazillion versions of this lovely piece--many of which are very wonderful--I was not prepared to be stunned by a new version: Kempf's rendering of the "minore" sections is simply heartbreakingly beautiful, and I can't wait to hear the piece again (by him) for the gazillion-and-oneth time. Nevertheless, it is perhaps the Humoresque that has most surprised me. I find this piece to be both one of Schumann's greatest and one of his most difficult to bring off, both technically and interpretively. Horowitz' technique on the live 1979 RCA recording (actually a splice of several live performances) is extraordinary. And though I grew up on Richter's 1956 mono version--on an increasingly scratchy LP--Freddy Kempf's interpretation of this work is so compelling, I don't know what more to say. Oh, just one more thing. While this disc sounds like the work of a seasoned pianist of enormous stature, Mr. Kempf was but 21-years old when he made these recordings.

Perhaps what is amazing is that the world turns out prodigies year after year in unexpected places and Mr. Kempf seems to be one of the more recent ones. His style is nevertheless and unarguably good and musical. I have only heard Horowitz and another one particular pianist by the name of Cecile Licad, who made a quite similar recording of Carnaval Op.9 along with the Toccata in C major and Papillons (SONY label 1990 previously CBS Records Inc.) which in the early nineties was compared with Horowitz, an achievement of its own. Her style is undoubtedly more musical, sadly forgotten and buried in the vast bowels of musical literature and over the years have been posted in different websites (particularly her performamnce of the Toccata in C) but not properly given credit. I urge (even challenge) readers and afficionados to listen to her recording and compare it to this one.