Mixed feelings listening to this almost full piano works by Schumann. I found one again what I was always embarrassed with Kempff, namely the lack of left hand. I mean it sorely lacking in presence and expression. A brief comparison with Yves Nat in the sonatas by Beethoven is striking on this point. Note that the metallic sound of DG record does not promote the pianist. Speech is very clear, transparent, light, but lacks the weight and meaning. This way of playing can give miracles in some parts where the dominant right hand, as Bird as prophet from Forest Scenes (as in a wonderful concerto No. 23 by Mozart, with F. Leitner). But more often it generates here a sense of superficiality and lack of commitment. As if the artist was careful to burn the wings. We can talk, with respect to the Master, of a "classic" approach or even baroque - Bach is very close in this reading almost objectively, drypoint, almost repetitive at times. But Schumann asks another vocabulary, another syntax. The last variation of Kreisleriana becomes haunting, black and white, with nothing of Schumann madness and Romantic imagination. Where are color schemes and fantastic evocations by Horowitz in the same piece? (listen to his left hand which knows to create all the atmosphere). We miss the almost mystical investment of Pogorelitch in Symphonic Variations, which here seem perfectly tasteless, and the mastered transports of Argerich or Pollini, essential to clarify the speech of Schumann and to fully express this music in bipolar mood.