ROBERT SCHUMANN: Davidsbundlertanze, op. 6; Arabeske, op. 18; Gesange der Fruhe, op. 133 – Paolo Giacometti, piano – Channel Classics multichannel SACD CCS SA 28709, 55:30 ***** [Distr by Harmonia mundi]:
Paolo Giacometti is an up and coming performer of great gifts, and quite accomplished record-wise as well, though he has appeared on more chamber recordings than solo to this point, aside from his very successful series of Rossini discs. He likes to vary the instruments he uses from recording to recording, and here he chooses the standard Steinway D, perhaps the most requested instrument in all of modern concert playing. This is a wonderful recording with Channel’s always reliable and super-spectacular surround sound working to capture these very poetic performances in a lush and resilient atmosphere of great clarity and cushiness. Giacometti’s superb playing compliments in every way the audio excellence.
The Davidsbündlertänze (“Dances of the League of David”) is a work of supreme mastery by the 27-year old composer, deeply in love with the newly-engaged Clara. The “League of David”, an imaginary fellowship populated by Schumann’s own alter egos and some invited composer guests, was created as a sort of antidote to what the composer thought of as a challenge to the musical values that he most admired, and not the more populist and superficial theatrics of Liszt and others. Florestan and Eusebius make an appearance here as in other places in Schumann’s music, the former wild and extroverted, and the latter gently introverted, with the tensions between them amply captured in the music. This is a beautiful performance, easily equal to the best ones on the market, including Kempff and Haskil among others.
The Arabeske is given a strong and almost steely reading that also emphasizes the gentle poetry found in this short, but always welcome interlude of Schumann’s. Gesänge der Frühe (“Morning Songs”) make for a picture perfect conclusion to this recital, as they are the last pieces Schumann would write before being confined to the asylum at Endenich, written about to his publisher only one day before tossing himself into the Rhine in a suicide attempt. These are very internal and introspective pieces, moody little things that allow for the sunrise to imprint itself in the imagination the same way it might in an impressionist painting. I have heard only one other recording that comes close to matching this one, that of Eric Le Sage in his recent and comprehensive series on Alpha. This is sterling Schumann of great conviction and substance, and will be enjoyed by everyone who comes across it.
— Steven Ritter
