Schumann-Piano Sonatas 1 & 3 [CD]

In the wrong hands, Schumann's monumental first and third piano sonatas can become gargantuan bores, pressing the limits with their youthful manipulations, fragmentation and repetitive ideas. Could be why these works are so infrequently recorded. Of the few pianists who did are Arrau, Kuerti, and Horowitz, to name the brave pre-digital-era group, and more recently, Andsnes and Lee. None, though, tackled the two together.

Bernd Glemser seems the intrepid first, and what a marvelously endowed contribution he has made to the literature. His performances of these lengthy Schumann works are so filled with new ideas, so sensitive to innermost detail and voicing, so overtly rich with the fantastical permutations imbued in every bar, so idiomatic and so obviously loving of the music itself that these sonatas spring to life with an energetic devotion second to none.

Without glorifying his own immense talent, Glemser reveals Schumann's in all its tormented impetuosity, virtuosity and bitter yearning. With great eloquence, phenomenal insight, and an undeniable reverence, the pianist pays true homage to the composer. In so doing, he invokes the spirit of Schumann as well as raising these sonatas to their rightful place. The remarkable recording, too, complements Glemser's vision in every possible way.

[Running time: 65:09]

Bernd Glemser has through a series of releases on the Naxos label established himself as an impressive pianist, and this one is among his best yet (although I am reluctant to say that they quite pip Gilels or Horowitz at their posts). Particularly admirable is his ability to balance the various voices and create clean structures and cogent long lines. One might perhaps ask for a little more passion or white-hot intensity, but to be honest the two works here, in particular when it comes to the outer movements of both works, desperately needs someone who can keep the lines clear and have the bigger picture in mind more than they need additional turmoil. In fact, to sample Glemser's most prominent virtues I'd resommend the scherzo of the first sonata, where the balance he obtains through holding the bass line clear and steady throughout is truly impressive compared to most (any?) other pianists, and the way he manages (in part in virtue of holding the lines so impressively) to let the central theme be the glorious, elevated climax it can be. Glemser is also convincingly lyrical in the slow movements (in particular the variations in the third). Sound quality is very fine as well and even though the performances don't, in the end, exactly outcompete Gilels or Horowitz, this is a very recommendable issue.

This recording is the first to introduce Schumann's Op. 11 and Op. 14 Sonatas to my ears. While I lack the respectable knowledge of Arrau's, Horowitz's, or Pollini's renditions, I have no doubt Bernd Glemser pours his soul and technical arsenal into these works. On the whole, I found both Sonatas attractive: lovely melodies and some wild emotional climates are abundant. Unfortunately, some of the movements seemed mediocre and left me wanting more. The first Sonata's Aria movement and the third Sonata's Scherzo, for instance, are not the most substantial things, and I expected more from Schumann's large-scale pieces.

However, and that's a big however, I do not doubt the magnificence of both Sonatas; they each have two profound movements which bolster their musical appeal. In the first Sonata in F sharp minor can be found one of the most pensive and beautiful openings of Schumann's piano works. Although the movement seems somewhat incoherent, what with the sudden cadence after the "Un poco adagio" idea and the new theme guided by an "Allegro vivace" tempo, the movement presents marvelous, agreeable music in sonata form. I had a little trouble in trying to like the Aria movement, a somewhat mellow and aimless miniature. Astonishingly, the most memorable movement is the Scherzo. Schumann has written a great Scherzo theme and a charming Chopinesque trio section that, uncharacteristically, nestle together quite nicely instead of sounding fragmented as we might expect from the piano miniature master. The Finale is a success, as well, demonstrating originality and beguiling harmonies. Consider the implementation of a melodic line, the Rondo theme, in the bass register; notice the fantastic representations of Schumann's Eusebius and Florestan engaging in a musical duel; this Finale is striking proof of Schumann's ingenious piano-writing.

There are prodigious and emotional ideas in the Op. 14 'Concerto without Orchestra' Sonata. The last two movements attain a splendid depth of expression. But, in my opinion, some moments drag on, evaporate too soon, or, as in the Scherzo movement, display nothing special. In the Allegro, we find two strong, noble themes; it's only in the development that things get tiresome. Fortunately, Glemser's fiery performance, especially in the recapitulation and coda, make up for it. As I mentioned earlier, the Scherzo movement of this Sonata seems rather vapid and mediocre. At least in the third movement, a set of four variations on a Clara Schumann theme, the music explores richer material. Indeed, the piece is a dreamy adventure with many intriguing variances on Clara's Andantino theme. Making a spectacular conclusion to this irregular work, the bustling Presstissimo possibile is probably the most virtuosic movement of all. Glemser's unlimited steam and consciousness of musical thought helps bring out the best moments here.

Bottom line: 4 stars may seem unfair to these neglected Sonatas. I realize I might upset some Schumann fans who believe these two works are worthy of no less than five stars. I just felt that there were inconsistencies in quality, an absence of true uniqueness, and a couple mediocre movements in these works. Nonetheless, Bernd Glemser has proven that he is a real contender as a Schumannite, adding intensity and interpretative clairvoyance to Schumann's music.