Customer Reviews

Schumann: Symphoniques, Op.13 / Posthumous Etudes / Papillons, Op.2 ~ Perahia

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I've listened to the Symphonic Etudes and Papillons of Schumann for many years now. I first heard these pieces played by Perahia on a classical music radio station when I was in medical school. It is 10 years later and I still consider this version by Perahia to be the best among all others I have heard.

I have heard Kempff's version which is too choppy. Richter's version of the Papillon recorded during the later part of his career - that version alternates with too loud and too soft passages. Too much banging for me. It does not have the continuous flow that Perahia demonstrates. I also own Jean Thibaudet's version of the Symphonic Etudes but his does not convey the same poetry as Perhia.

I love these pieces and never tire of them especially and only when played by Perahia.

Perahia was 31 when this Schumann program appeared in 1978, and he would go on to establish himself as a strong Schumann player. His general style falls somewhere between Richter's spontaneous, sometimes reckless passion and Kempff's refined savoir faire. I find myself using the generic term "in between" because there's not enough personality in his style that I can describe it more colorfully. Everything proceeds with taste, balance and alertness. His fans deeply admire this sort of measured classicism, and I'm not here to force them into the arms of stronger customers like Horowitz and Pollini -- the Gramophone, that altar to musical respectability - adores Perahia. If your tastes fall into the same groove, you might, too.

Personally, I lost interest in this set of the Etudes symphoniques early on. It simply lacked dramatic interest and emotional involvement which isn't to say that Perahia is ever less than artistic and certain of his path. He is always clear and clean in his execution (or if a more decorative compliment is needed, here's the Gramophone reviewer: "I know few pianists less inclined than he to confuse any issue in pedal haze." There will always be an England.) Unusually, Perahia places the five posthumous etudes after the performance (arranged as 1, 4, 3, 2, 5) rather than inserting them into the body of the work. In the miniatures gathered as 'Butterflies' (Papillons, Op. 2) one cannot oppose the pianist's good taste, but a touch more fantasy and imagination wouldn't hurt.