Deutsche Grammophon touts Yannick Nézet-Séguin’s new fast-and-light-textured Schumann symphony cycle as “revelatory”, but there are already several recordings (Harnoncourt, Dausgaard, Zinman, Norrington, to name a few) that take a similar approach. As you would expect, Nézet-Séguin whips a good deal of energy with his swift tempos and crisp phrasing, and his readings are notable for their timbral clarity, exposing lots of interesting inner detail, especially on the woodwinds (the COE brass, which needs no such help, sounds quite fine throughout).
But there’s more to Schumann than speed and clarity, and given that Nézet-Séguin began his career as a pianist, it’s surprising that he’s not especially sensitive to the music’s rubato and implied poetry. Bernstein, in comparison, plays these symphonies like piano music, employing a naturally-breathed ebb-and-flow (while conducting big-bands like the New York and Vienna Philharmonics).
Then there’s the frustratingly narrow dynamic range of the performances, partially the fault of the close-perspective recording, but also likely due to Nézet-Séguin’s need to balance the smallish string body with the other instrumental groups. This is not so much a problem in the bright and sunny Symphony No. 1 (the best performance in the set), and the more traditionally classical No. 2 (also pretty good, with well-sustained tension); but this method saps power and impact from No. 4, Schumann’s most emotionally-charged.
The conductor’s swift pacing and clear textures make No. 3’s (“Rhenish”) first movement sound a little less rambling than usual, and his deft handling of timbres makes the sombre fourth movement quite interesting. However, the sexless, so-called historically-informed string texture and articulation hinders rather than helps Schumann’s expressive intent, fostering an overall generalized quality that gives the sense that the performance is about Nézet-Séguin adhering to an aesthetic principle over everything else.
Likely, someone who’s never heard Schumann performed this way will find some aspects of this recording refreshing and enjoyable–at least initially. But in the long-run they’ll be better served, if this is the desired approach, by Zinman’s complete set which also offers swift, bracing tempos, but also retains the music’s tonal richness, subtlety, and emotional energy. All others should consider the reference recordings listed.
