Schumann's Carnaval is a piece that very much relies on the spontaneity of the pianist for its effect. However, a number of the episodes have awkward leaps or technically taxing piano writing that contribute to make the sort of accuracy demanded in the recording studio difficult to achieve. Of the two pianists here, it is quite definitely Andrei Gavrilov who is able to convey the fleet fantasy of Schumann to best advantage, and his performance is of the highest calibre. It is one of the best Carnavals I have heard in recent years. Alicia de Larrocha, experienced artist that she is, has a steady and authoritative way with the music but she cannot match Gavrilov's perfect blend of virtuosity and caprice.
The Russian does not follow the composer's dynamic markings with any particular loyalty, but one never feels that he is being wilful. ''Papillons'', ''Pantalon et Colombine'' and ''Paganini'' are all quite up to the required hell-for-leather tempo and are astounding. By way of contrast, his detailing of the left-hand harmonies in the arpeggios of ''Chopin'' is highly refined. Larrocha is perhaps the more thoughtful artist, and her big tone lends a grandeur to the music that is welcome. In ''Aveu'' one can sample her playing at its most beautiful—she has a magical pianissimo touch.
Moving on to the Faschingsschwank, I find a greater lucidity and control in Gavrilov's playing. Each episode has its own character. With Larrocha there is a certain heaviness at times that is out of keeping with the music, as in her over-accented treatment of the Scherzino. Gavrilov is quite violent in the finale and makes it sound remarkably like Schumann's Toccata.
The other pieces, which complete the two CDs, provide some of the finest playing on each. The stopnature of the Allegro in B minor and its hectic bravura style are skilfully managed by Larrocha. The work has some influence of the alla polacca from Chopin's La ci darem la mano Variations and is not wholly a success (it was originally devised as the first movement of a sonata). This performance seeks out the more mysterious aspects of the composition. Gavrilov, despite one or two annoying eccentricities of tempo, treats us to a scintillatingly well-articulated reading of Papillons. His bravura is never allowed to get out of hand.
Whereas the EMI release has first-rate sound that needs no comment, I am afraid that I found the Decca to be rather boomy and reverberant. The piano tone in the opening movement of the Faschingsschwank, in particular, is somewhat sprawling. As far as the performances go, the Gavrilov disc is extremely distinguished; the Larrocha is worthy.'