When a world-famous artist comes to record a very familiar piano work I think it right that a reviewer such as myself should be able to discuss the version within the context of the best interpretations of the past. It is sad that Schumann's Carnaval has not been recorded so much in recent years. However, I have no doubt in saying that Ashkenazy's new performance just does not bear comparison with most of the 17 interpretations that I have in my current collection. There is precious little in the way of affection for the music and he shows a complete disregard for the need to vary the mood of each number. Of course there is superb virtuosity and strength, but why does he consistently produce an unpleasant sonority in fortes? The problem is that his 'loud' playing is indiscriminate; it takes no account of the composer's style. Hence the finale is harddriven and vicious with very little give in the phrasing. The whole performance is bound by a tightly regimented approach that is hardly in keeping with Schumann's flights of fantasy.
Arrau's 22-year-old recording has a rather bass orientated sound, but at least he knows how to produce a proper forte tone. His approach to tempo is far more flexible than Ashkenazy's, although his outlook is somewhat sober. Nevertheless, at the return of the ''Valse allemande'' after ''Paganini'' he manages a wonderful lightness and humour. Arrau's version of Kinderszenen is better recorded than Carnaval and he plays the music with great restraint and purity. Occasionally I felt his large tone was a bit much for the scale of the pieces, but then he compensates for this in his depth of insight into Schumann's poetry, as in his very slow playing of ''Traumerei''. Although some of the ideas in the Waldscenen seem unnecessarily underlined, Arrau is always able to convey the essence of each piece. The hearty ''Jagdlied'' is splendidly forthright.
I do not dislike Ashkenazy's style of playing, and I found plenty to admire in his new recording of Humoreske. Perhaps it does not approach either the versions by Richter (nla) or Feinberg (nla) in terms of imagination, but still Ashkenazy conveys a feeling for structure. Surprisingly, the performance is not top-notch technically: the second episode sounds a little unprepared and in the section marked Einfact und zart he not only splits the left-sixths, but also simplifies the fast semiquaver section, in which he still manages an untidy slip. However, the final episode has real atmosphere with an expressive use of tone. Perhaps the coda lacks some exhilaration though. The two Noveletten are to my mind unsatisfactory. The first is blustery and unmemorable and the second is rattled off like a study. There should be far more in the way of electricity.
For Carnaval I have no hesitation in recommending the Arrau over the Ashkenazy, but it would be good if the Rachmaninov and Cortot versions (there are three) could be remastered for CD, these are classics that should always be available. Richter's Parlophone version of Humoreske falls into the same category.'