It is astonishing that these early Schumann pieces were composed within eight years of Beethoven’s death. Each of them contains seeds of Schumann’s later full-blown Romanticism. Charles Owen’s approach is straightforward, without extremes of tempo or dynamics, but there is never a sense that he is holding back. His account of the Abegg Variations is one of the finest I know, up there with Richter and Kissin. The tempos are contrasting but not excessive, and the playing is always clear and nuanced, even in the most brilliant moments. Amazingly, we can actually hear the slow release of each of the theme’s notes near the end, one by one. Papillons is also good, although its sprightly characterisation is offset by moments of heavy-handedness. Throughout I would have welcomed a greater variety of sound on the repeats.

The unjustly neglected Six Intermezzos contain much original piano-writing and numerous technical challenges. Owen provides nice contrasts of touch and dynamics throughout the cycle. Nos 2 and 6 are very brilliant, but No 4 and the Trio section of No 5 would benefit from more flexible tempos.

Carnaval, of course, has been recorded by hundreds of pianists. Owen’s account is competitive and characterful, with good contrasts throughout. Highlights are the playful ‘Coquette’ and ‘Papillons’, the warm lyricism of ‘Eusebius’ and ‘Valse noble’, the especially lovely ‘Promenade’ and the fast and super-light ‘Reconnaissance’. Pedalling is judicious, almost to a fault, and I sometimes wished for a fuller and richer sound, especially in ‘Chopin’ and the closing ‘Marche’. But this is a thoroughly recommendable version, and one I will return to often. Excellent recorded sound and a fine booklet note by Misha Donat.

This review originally appeared in the SPRING 2025 issue of International Piano