The Papillons and Faschingsschwank aus Wien make up two-thirds of the original 1962 EMI all-Schumann release “Richter in Italy”. The final third, Schumann’s Second Sonata, is replaced here by Richter’s 1961 studio recording of the same composer’s C major Fantasie. I’ve long blown hot and cold about this performance. On one hand, Richter monkeys around with many of Schumann’s explicit tempo, phrasing, and dynamic markings. His wide berth of tempo fluctuations in the central March movement, for example, trivializes the music’s symphonic contours and cumulative power. One the other hand, the pianism boasts such concentration, control, and beauty of sound that you come away mesmerized, and totally seduced.
By contrast, the Papillons are scrupulously detailed and proceed from one little piece to another with drama and sweep a-plenty. True, you don’t get Kempff’s subtle dabs of color or Cortot’s winsome rubatos, but you probably knew that already. Richter’s technical and musical strengths awesomely coalesce in the Faschingsschwank aus Wien. The pianist’s piston-like rhythm, supple fingerwork, and exuberant temperament bring out all the inherent vibrancy and disquiet passion lurking beneath Schumann’s mealy textures, while the pianist’s singular legato spins to poignant ends in the slow movement. At EMI’s budget asking price, you can’t go wrong.
