Maurizio Pollini’s first solo Schumann release in many a moon offers the Third Sonata, better known as the Concerto Without Orchestra, in its rarely heard, three-movement first edition (actually it’s rarely heard in any edition!), plus the relatively familiar Davidsbundlertänze. The latter’s 18 movements are characterized by diverse swings of mood and character. In general the impulse, volatile sections inspire like-minded and fastidiously detailed responses from the pianist. The vivid fervor of No. 6’s insistent triplets gains tension by Pollini’s observance of the difficult-to-coordinate slurs, and his crystal clear projection of the quirky accents and sudden dynamic surges in the “stride piano” eighth movement certainly will keep aspiring pianists honest. However, some movements (like No. 12 and No. 16) could benefit from a lighter, more whimsical touch, and Pollini’s brusque, somewhat impatient view of No. 2 misses the music’s lyrical point. No. 4 is a bit generalized and overloud. I also disagree with Pollini’s slight speeding of No. 5’s right hand triplet eighth notes–they have more melodic charm when played in tempo. But No. 17’s dreamy aura is perfectly realized by way of the pianist’s full-bodied soft playing and gently ringing bass notes.
Pollini’s mastery, however, truly shines in the Concerto’s outer movements, where he binds the music’s knotty swirls of passagework into sweeping, coherent paragraphs. His tender, flexible treatment of the central variations (often performed as a separate entity under the title “Variations on a Theme of Clara Wieck”) is no less masterful. Incidentally, the Concerto’s first edition did not include the Scherzo movement reinstated later on. It would have been interesting had Pollini recorded it as an appendix. All told, a worthwhile release, but Pollini’s annoying vocal grimaces have finally reached Glenn Gouldian proportions!
