Erika Haase’s first three Etudes releases were dominated by workmanlike pianism and earnest yet basically stiff musicianship. This two-disc Schumann set similarly leaves a mixed impression. Haase solidly manages the Op. 3 and Op. 10 Paganini Studies’ unwieldy and unrewarding technical difficulties, but without the kind of lightness and graceful aplomb these pieces cry out for. Although neither Haase nor Carmen Piazzini plays softly enough, their fluent phrasing and superb ensemble values bear expressive fruit in Debussy’s two-piano arrangement of the Op. 56 Studies for Pedal Piano.
The Symphonic Etudes take up Disc 2, all repeats observed, and the five “posthumous” studies are tacked on at the end rather than integrated within the “traditional” text. By and large, the performance is a dud. Etude II’s rhythm lurches all over the place; Etude III’s left-hand melody and arpeggiated right-hand accompaniment rarely strike an ideal balance and often bog down; Etude V’s repeated two-handed chords are not consistently together; and Etude VII’s motoric momentum turns to heavy-handed flab. It’s unusual to hear Etude VIII’s dotted rhythms dispatched in such a cut and dried fashion, but Etude X pushes Haase’s fingers and stamina to their limits. Etude IX’s rapid chords amble way below Schumann’s Presto possible conception, while the Finale lacks sufficient dynamic contrasts, notwithstanding Haase’s texturally diverse inner voice activity. This is worth hearing for half of Disc 1 and for Tacet’s gorgeous, lifelike sonics.
