SCHUMANN The Complete Works for Piano Vol. 6
View record and artist detailsRecord and Artist Details
Composer or Director: Robert Schumann
Genre:
Instrumental
Label: Claves
Magazine Review Date: 04/2017
Media Format: CD or Download
Media Runtime: 153
Mastering:
DDD
Catalogue Number: 50-1508/09
![50-1508/09. SCHUMANN The Complete Works for Piano Vol. 6](https://reviews.azureedge.net/gramophone/media-thumbnails/schumann_piano_vol_6.jpg)
Tracks:
Composition | Artist Credit |
---|---|
Kreisleriana |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
(4) Fugues |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
(6) Studies on Caprices by Paganini |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
(6) Concert Studies on Caprices by Paganini |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
Toccata |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
(4) Klavierstücke |
Robert Schumann, Composer
Robert Schumann, Composer |
Variations on a theme of Beethoven |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
(4) Marches |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
(3) Sonatas for the Young |
Robert Schumann, Composer
Cédric Pescia, Piano Robert Schumann, Composer |
Author: Patrick Rucker
Pescia’s Kreisleriana, the centrepiece of this disc, moves boldly from one harmonic pillar to the next, lending his interpretation of this challenging work a strong sense of structural cohesion. On the other hand, his focus on the larger architectural signposts gives short shrift to Schumann’s wealth of detail and colour and, consequently, to his psychological complexity. The overall impression strikes as brusque on occasion, as well as a bit rushed. With several fine Kreislerianas of late, Nicholas Angelich leading the pack, Pescia faces some stiff competition. The Toccata is a bit on the safe side, though it may be that we’ve been spoiled by Richter’s ebullience in this piece.
In the three Sonatas for the Young, Op 118, Pescia does little to alleviate the perhaps inevitable ennui in material of such repetitious simplicity. Remarkably, it is in those works that seem not so typically Schumannesque – the two sets of Paganini Studies, the archaising Suite, Op 32, and the Four Fugues, Op 72 – that Pescia is at his most relaxed and communicative. The sound is fully dimensional and true to life.
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