Customer Reviews

Schumann: Piano And Orchestra Works

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Technically, Murray Perahia is among the most accomplished of our great pianists today. Abbado enjoys the same respect among composers. And technical mastery is what it takes to wade through the lush, dense forest that Schumann lays out in his works for piano and orchestra. Without the incredible finger and pedal work of Parahia, the layers of sound easily become muddled. Parahia keeps each note, each phrase clear and communicative. Similarly the orchestra, under Abbado's precise but light hand, makes the sonorities in the music come through -- the delicate solo and ensemble passages are open and immediate, while the power and majesty of the big chords and thick orchestration make an impact.

Understated at times, the performance bears repeated listening.
Altogether a definitive interpretation of major romantic pieces.

Schumann's Piano Concerto is often overlooked in the reportoire in favor of Grieg's work. An side-by-side comparision of both works shows that the latter is evidently modeled after the former, and this much Grieg admitted.

I personally find Schumann's work much more evocative and moving than Grieg's. Perahia plays here with a beautifully delicate touch that colors every hidden nuance within this much-underrated piece. Abbado's direction of the Berliner Philharmoniker is solid and a prime example of what orchestral accompaniment of a solo instrument should be: gently supportive, blending with the soloist's tones, and an orchestra when called upon to be. The accompaniment never overshadows the soloist, yet always maintains a proper presence.

Not being overly familiar with the other two works on this CD, I can only say that the performances are as strong as the Concerto's to the ears of the uninitiated. This is an excellent CD and a necessary item for fans of Schumann's beautiful piano works.

Every pianist worth his/her salt has the Schumann Piano Concerto in A minor, Op. 54 in repertoire and while performances abound as do recordings of the beloved work, now and then it is refreshing to hear the work with the extraordinary finesse Murray Perahia bathes it. This is Schumann in the Romantic lead but with the subtleties of phrasing that make it rise above the usual hand-wringing forms we are used to hearing.

But though the concerto is a staple, the other two works for piano and orchestra are rarely heard. And that is sad because they perhaps contain come of the most eloquent melodies and ideas from Robert Schumann's gifted mind. In many ways the Introduction and Allegro appassionato in G major, Op. 92 is more related to the Schumann works for voice and piano. Perahia ably assisted by Claudio and the Berlin Philharmonic Orchestra give probably the finest reading on records. Much the same could be said about the less impressive yet still quite beautiful Concert Allegro with Introduction in D minor, Op. 134.

Perahia and Abbado sound and feel as one musical mind. The technical aspects of the recording are excellent and it goes without saying that the sumptuous sound of the Berlin Philharmonic helps create the glow of these three works. Highly recommended. Grady Harp, February 06

This is the perfect combination: a prodigious piano, a wit conductor and an orchestra that is always so good, so wise. This performance moves me. I repeat its hearing so often.

A good recommendation for you all!

Greetings

This Cd has great performances of great works. It would be a welcomed addition to any classical music fan. The only complaint that I have is that the track listing is wrong. It is easy to figure out what the proper order is though.

This is another good example on how to make a smart selection for a CD
edition. This is the best option to get all Schumann's works for piano and orchestra in one only CD. Those are thrilling performances, showing the best
mastery from soloist, orchestra and conductor. This is an essential for every
Schumann collection and a strong and safe recommendation for this Schumann's bicentennial year. Don't miss it.

When you hear this wonderful recording, so fully, sensitively and emotively played, you'll hear how much Schumann in this piece influenced Rachmaninoff decades later. I love this recording, and highly recommend it to lovers of artists who show love in their playing. A great teaming of soloist and conductor, which is essential.

I was curious whether my thesis was right that Murray Perahia used to be more energetic and interesting as an interpreter when he was young. Perhaps his two recordings of the Schumann A minor Concerto, the first from 1987 with Colin Davis and the Bavarian Radio SO and this remake under Abbado and the Berliners from 1994, are too close together to make much of a contrast, for they are remarkably similar. Schumann is one of Perahia's strongest composers, and both versions display him at his best: engaged, flexible, sensitive, always in good taste without drooping into studied nuance.

The version with Colin Davis puts the piano farther forward, the remake under Abbado blends the instrument into a plush orchestral setting. By a small margin Davis feels like the stronger, more committed condcutor. You would think, however, that the nod goes to Abbado because the fillers on that CD are two rarely heard Konzertstucke, Op. 90 and Op. 134, which Perahia plays, if anything, better than the concerto. How can the pairing of the dog-eared Grieg cocnerto on the older CD compete? As it turns out, Perahia and Davis really catch fire in the Grieg, and their interpretation feels altogether fresh and appealing. If you want a first choice in this work, their version comes near th top of the list.

In any case, I wouldn't rank Perahia's Schumann conerto recordings above Ricther (two readings, on EMI and DG) and Pollini (DG)-- both soloists are more fiery and original. Perahia delivers pedigreed accounts that bring a lot of pleasure. Sony produced his two CDs in very good sound.