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Schumann: Davidsbundlertanze, Concert sans orchestre Import

4.7 out of 5 stars 11 customer reviews

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$6.05 & FREE Shipping on orders over $49. Details Only 2 left in stock. Sold by IMS Distribution and Fulfilled by Amazon. Gift-wrap available.
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Product Details

  • Performer: Maurizio Pollini, Robert Schumann
  • Audio CD (September 18, 2001)
  • Imported ed. edition
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Deutsche Grammophon
  • ASIN: B00005OKSI
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #146,884 in Music (See Top 100 in Music)

Amazon's Maurizio Pollini Store

Customer Reviews

Top Customer Reviews

Format: Audio CD
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.
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Format: Audio CD
Although I consider myself a fan of Pollini, I don't like all his recordings equally. For example, I feel that some of his Chopin lacks some lyricism, his Liszt sonata did not convince me, and there are more examples in his vast catalogue. But on the other hand, there are so many other recordings to enjoy: Beethoven's Beethoven: Diabelli Variations, many sonatas, his Chopin: Etudes, his Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini (WOW is the word that comes to mind) to name just a few.
But for some reason I especially love his Schumann recordings, the Piano Concerto and symphonic etudes, the Schumann fantasy (which is truly fantastic) to name a few. Pollini's qualities (virtuosity, sense of muscial architecture) seem to work especially well with Schumann.
For some reason utterly unknown to myself I only just recently purchased this cd. The only regret I have I didn't buy it sooner! You can hear (sometimes literally) him enjoy playing these wonderful, fantastic pieces, which seem to be very close to his muscial heart. The necessary virtuosity is (as usual with Pollini) a simple given, so let's not spoil words on that.
Well, you have read my review, so no more excuses that you didn't know this cd existed.

Highly recommended. Enjoy.
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Format: Audio CD Verified Purchase
This Robert Schumann pairing is perfectly representative of pianist Maurizio Pollini’s work: it’s both indisputably very good and yet lacks something. Pollini’s masterful technique fuses with his sense of professionalism, resulting in performances that are perfect yet lacking; lacking maybe enthusiasm, maybe passion, maybe idiosyncracy and personality. If this was repertory which was less played and hadn’t been done so brilliantly by other musicians, then Pollini’s release would be a state-of-the-art reference and we’d listen to it and be happy. But the two wonderful works performed here, “Davidsbundlertanze” (1837) and the Op. 14 Sonata (1835), have received terrific alternative interpretations. For both compositions, I can name recordings that leave me more inspired and excited than Pollini’s.

In the case of the Op. 14 Sonata, I’ll point you to Andras Schiff’s (done for ECM). This compact, dramatic, even abrupt work, has been somewhat overlooked over the years but I’m convinced it is one of Schumann’s boldest and most incisive efforts. The opening Allegro brillante almost erupts rather than just starting. Within 30 seconds, Schumann has transitioned into an almost declamatory contrasting theme that, after an impassioned melody high up, tumbles down in a cascading run. Pollini plays energetically enough, but his tempo is stiff and the downward cascading run doesn’t have the momentum Schiff gives it. I’ve isolated this one instance because it is an accurate illustration of what Pollini does throughout the entire disc.
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An earlier reviewer points out that the space of sixteen years separates this CD from the last Schumann disc recorded by Pollini. Now another decade has passed since he recorded Kreisleriana, which came out in 2002, a year after this. I suppose there will be no more Schumann from Pollini, but since he is one of the pre-eminent players of Schumann on disc, there's every reason to celebrate what we have. The composer's miracle years for writing piano music were 1836-38, a time when Schumann was obsessed with Clara Wieck. He wrote all of his major piano works from this period, including the two featured here, as a cri de coeur for her. The Sonata in F minor, which the publisher fancifully entitled Concerts sans orchestre (Concerto without Orchestra) uses a theme composed by Clara in the set of variations that is the score's slow movement.

Pollini, who for reasons that have always baffled me, has been saddled with the critical cliche of being cold, but here he fully grasps Schumann's restless, passionate idiom. This music is relatively little played, and one can hear why. Its themes are not memorable, their working out is turbulent, and the harmonies, although not complex, fill out two hands so often that the listener has a hard time following the leading note (not so much a flaw as part of high romantic style, in Rachmaninov and Scriabin as much as in Schumann). Pollini's performance could hardly be bettered. the tide is always roiling, and the virtuosic Prestissimo possible of the finale is tossed off with ease - Pollini probably isn't played "as fast as possible.
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