This is really a stimulating, thoughtfully-planned Schumann program, featuring one of the composer’s greatest pieces of absolute music for the piano, his last important collection of character pieces, and maybe the most flat-out gorgeous piece of music he ever wrote. This last work, the
Arabeske of 1838, was penned, according to the composer, with the ladies in mind—he described it as
weiblich (“feminine”)
—and it provides a gentle, poetic conclusion to a program that has more than its share of heaven-storming, thanks to the powerful
Symphonische Etüden (1837).
…I can lodge no complaints at all about Martin Helmchen’s performance, which is excellent. He invests Baron von Fricken’s
theme with a wonderful misterioso quality, as well as tragic intensity. He then goes on to inject each variation with just the right element, whether it’s the aching plaintiveness of Variation II, the heart-racing virtuosity of Variations V and VI, or the Chopinesque delicacy of Addendum Variation V. Helmchen tops his performance off with a perfectly judged treatment of Schumann’s grand finale, with its kaleidoscopic assortment of episodes, including the thundering fortissimo chords of the last twenty or so measures.
Helmchen brings just the right emotional shading to each piece, whether it’s the wispily delicate Einsame Blumen (“Solitary Flowers”), the studiedly elusive Vogel als Prophet (“The Prophet Bird”), or the haunted, haunting Verrufene Stelle (“Disreputable Place”—presumably a spot in the forest where something nasty has occurred—a murder, perhaps?). Great stuff.
PentaTone’s SACD recording is equally wonderful: immediate, truthful, immersive in the best surround-sound manner. This one will certainly be on my favorite recordings list for 2013. © Audiophile Audition Read complete review
