A producer's note tells us that Schwarz holds strong views on Schumann and those who would tamper with his scoring. Thick-textured, ungainly? A popular misconception, Schwarz believes. I tend to agree with him—whilst adding that a history of portentous, poorly articulated performances has not helped Schumann's case one little bit. These are textures which do readily coagulate—lazy rhythm and an overdose of sostenuto is all it takes. Schwarz is obsessive about the former and takes the latter in moderation, encouraging long, heavy bows only where the music demands them. One's overriding impression throughout this disc is of Schumann with a clear head. Only in his measured gait for the finale of the symphony would I suggest that Schwarz has not done himself any favours. Otherwise spring arrives in a blaze of open-textures (violins divided left and right) and keen, clean-limbed rhythms. There is real atmosphere in Schumann's forest murmurings as introduction gives way to the principal allegro molto vivace—vivacious indeed, with airy, bright-eyed articulation of the violins' semiquaver fours and a proudly affirmative development climax. Schwarz's Larghetto is contented and very generously bowed and I like the weighty country dance of his scherzo—again, nice deep bows and some judicious Viennese ritards.
Schwarz's orchestra has grown into a very considerable instrument, but one full of distinctive individuals, too. You can hear as much in the opening page or two of the Overture, Scherzo and Finale: his woodwinds immediately establish their personalities—not least, a ripe, 'knowing' first oboe. Then, of course, there are the four intrepid horns, bending and harmonizing phrases like a section—and a very fine one at that—in the fearsome Konzertstuck. You may feel, as I do, that a more up-front, less self-effacing, balance for the solo quartet would have proved more exciting. Don't expect those lip-twisting pyrotechnics to leap flamboyantly from your speakers. Schwarz and the Delos sound team have pointedly opted for a more integrated 'orchestral' sound (warm and rubicund) where the interplay between soloists and their woodwind counterparts can produce all kinds of frolicsome results—in the finale, for instance. But to some extent I miss the display factor—'for four horns and orchestra' is how I read Schumann's designation. You may disagree.
This is, nevertheless, a thoughtful and thoroughly prepared disc. I'm still more likely to reach for Sawallisch (EMI) in both the symphony and the Overture, Scherzo and Finale—a class apart—and I still cannot pretend I wouldn't have been happier had Schwarz turned his attentions to the other Schuman—William.'