Reflection

“…even if her Schumann Concerto had come out on its own… I'd still strongly recommend it. From her first two forte chords it is clear this is going to be something special. Every single phrase, change of mood or colour, sounds as though it has been lovingly rediscovered.” --BBC Music Magazine, February 2006 *****

Gramophone Magazine
Editor's Choice - February 2006

BBC Music Magazine
Orchestral Choice - February 2006

“Hélène Grimaud presents us with a second lovingly themed gift, this time mirroring the entwined love of Robert and Clara Schumann and their adored protégé, Johannes Brahms. Grimaud's performance of Robert's Piano Concerto is a superbly bracing riposte to more indulgent and sentimental readings. Brilliantly partnered by Esa-Pekka Salonen, who conducts with all the joy of first discovery, she launches the work with fierce authority before playing the principal theme with a rare sense of its expressivo and affetuoso character. She is no less bold and impassioned partnering Anne Sofie von Otter, an ideal match for a singer whose intensity and vision leave you in no doubt that Clara was a more-than-gifted composer as well as a great pianist. ...joins Truls Mørk in the E minor Cello Sonata, where you get an almost palpable sense of the artists lifting each other to heights they might find hard to achieve alone. Few performances on record have a more robust eloquence and fervour.” --Gramophone Magazine, February 2006

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Schumann: Carnaval Op 9, Sonata No. 1 Op 11

'On a new recital album, Evgeny Kissin brings to the fore many of the virtuoso qualities that have made him a star attraction among pianists of his generation: pianistic command, demonic energy, penetrating insight. The 21-year-old Russian also tends to bear down rather aggressively on certain sections (the stormy opening of the Sonata No. 1, for example) that tends to shortchange Schumann of necessary poetry. "Carnaval" always has been a major litmus test of the "compleat" pianist, and Kissin demonstrates he's more than up to its technical demands.

From the vivid boldness of the "Preambule" across the varied landscape of this kaleidoscopic work, Kissin plays up the music's schizophrenic shifts of character. He makes child's play out of the difficult "Paganini," although you must turn to older recordings by Rubinstein (RCA) and Moiseivitsch (Pearl) to hear subtleties of tone and expression Kissin misses. The same is true of the pianist's handling of the knuckle-busting sonata, although here I found myself more in accord with his volatile, extroverted approach -- it's hard to resist the sheer panache of Kissin's playing. Sixty minutes is rather short for a full-priced disc, although I have no complaints about RCA's engineering, which is as big and bold as the pianism. --Chicago Tribune. December 22, 2002|By John von Rhein.

MP3 320 · 133 MB

Schumann: Complete Symphonies

5 out of 5 stars for performance, 5 out of 5 stars for sound. --BBC Music Magazine

Of all the 19th-century composers who have been given the ‘period instrument treatment’ in the last couple of decades, Schumann’s reputation has perhaps gained the most. Long criticised for his supposedly opaque orchestration, and for symphonic structures which fell somewhere between the tunefulness of Schubert and the serious integrity of Brahms, it has taken the clear textures and energy of the period bands to bring this music back to life.

There have already been several reassessments on disc, but this handsome new DG collection strikes me as the best complete set so far. Ever the original, Gardiner has performed these symphonies with the violins and violas standing (as was the practice in the Leipzig Gewandhaus Orchestra in Schumann’s day); and though it might seem perverse to say one can hear the results on CD, I was certainly aware when listening to these thrilling performances of a vigour and projection to the string playing which is all too often lacking. Speeds are brisk but never driven too hard: awkward moments such as the scherzos in the First and Fourth symphonies have an appropriate lightness, but Gardiner is prepared to enjoy movements such as the Adagio espressivo of No. 2, with its exquisite oboe melody.

Like Harnoncourt in his recent Teldec Schumann cycle (with the COE – modern instruments but ‘period’ manners), Gardiner gives an airing to the seldom-heard original 1841 version of Symphony No. 4; but whereas the Harnoncourt set fits on to two CDs, Gardiner’s extra playing time allows not only the more familiar 1851 revision of this work, but also Schumann’s two not-quite symphonies and the wonderful Konzertstück for four horns. The recordings manage to be both magnificently detailed and warm, and DGproduction values are high throughout. Strongly recommended. --BBC Music Magazine

3 CD · MP3 320 · 448 MB

Schumann: The Violin Sonatas

“he captures ideally the turbulence of the First Sonata, so reminiscent of the sound world of the First Piano Trio, and the irresistable drive of the Second Lebhaft. The balance with the piano of Roland Pontinen seems natural” --Gramophone Magazine, May 2012

Robert Schumann's three Sonatas for violin and piano were all composed between 1851 and 1853, and have suffered from neglect like other works from this period in the composer's life.

Here the performers are Ulf Wallin and Roland Pöntinen: a team who recorded their first disc for BIS in 1991, and whose partnership has been described as 'masterfully cultivated ensemble playing' on ClassicsToday.com.

Wallin's credentials in Schumann are firmly established, after his recently released recording of the violin concerto, the Fantasy and the arrangement for violin of the cello concerto has been met with considerable critical acclaim.

MP3 320 · 168 MB