When pure beauty enters the stage, all you can do is to be silent, to hear and to fall on your knees and (optional) to cry for happyness. Schumann and Pollini are reasons enough to do it.
What makes Pollini such a great interpreter of Schumann? Passion. Tension. Being alive to the forces of disintegration and chaos in the composer’s psyche; indeed: much as Moses raised the brazen serpent as a cure for pestilence, Pollini understands Schumann is reliant upon the orphic power of music to keep the darkness at bay.
# Composer: Robert Schumann
# Performer: Maurizio Pollini
# Vinyl (1984)
# Number of Discs: 1
# Format: Flac
# Label: DGG
# DR-Analysis: DR 12
# Size: 1.49 GB
# Scan: yes
# Server: FileFactory
Nowhere in the entire catalog of Schumann recordings will you find a greater performance of this set. In these pieces, as in his celebrated versions of the Fantasy in C and the Sonata, Op. 11, Pollini is magisterial, profound, and utterly compelling. Unlike many other interpreters, he wisely inserts the five posthumous variations between Variations V & VI of the published group, integrating them seamlessly into the whole. His playing, as always, is notable for its penetrating insight, and for the intense emotionalism he’s able to summon without the least loss of clarity. Coupled with sublime reading of the ‘Arabeske’, this is Schumann playing for the ages.
Great pianists cast a spell that captures the imagination of listeners, but not all listeners. Rubinstein entraced his countless fans; I fall asleep. Shura Cherkassky sends me running from the room. But I am captivated by Pollini’s spell, with its piercing intelligence and coiled intensity. He gives and holds back at the same time. That adds an element of suspense and mystery to his playing that I relish.
But there are times when Pollini gives his all, and this 1981 account of the Symphonic Etudes is one of those times. Without sacrificing control, the pianist allows Schumann’s most ecstatic passages to blossom; his tempos run free at the great climaxes; and he is altogether in Schumann’s romantic world without succumbing to salon sentimentality. In short, this is an unassailable reading. Among postwar pianists only Richter matches it. The greatest set of piano vairations between Beethoven and Brahms is given full justice.
|Symphonische Etueden Op. 13 / 5 Variationen Op. Post|
|A2||Etuede I. Un Poco Piu’ Vivo||1:16|
|A3||Etuede II. Marcato Il Canto||2:54|
|A4||Etuede III. Vivace||1:11|
|A7||Variation Post. I||1:33|
|A8||Variation Post. II||1:45|
|A9||Variation Post. III||1:03|
|A10||Variation Post. IV||2:16|
|A11||Variation Post. V||2:21|
|B1||Etuede VI. Agitato||0:53|
|B2||Etuede VII. Allegro Molto||1:10|
|B4||Etuede IX. Presto Possibile||0:39|
|B7||Etuede XII. Allegro Brilliante||6:50|
|Arabeske Op. 18|
|B8||Leicht Und Zart – Minore I – Minore II – Zum Schluss||6:23|
Analyzed folder: /192k Schumann – Symphonische Etueden – Pollini
DR Peak RMS Filename
DR16 -3.79 dB -25.42 dB A1 Thema. Andante.aif
DR12 -8.93 dB -25.70 dB A10 Variation Post. IV.aif
DR11 -11.85 dB -27.39 dB A11 Variation Post. V.aif
DR12 -6.91 dB -22.96 dB A2 Etuede I. Un Poco Piu’ Vivo.aif
DR12 -2.93 dB -18.90 dB A3 Etuede II. Marcato Il Canto.aif
DR10 -5.30 dB -20.38 dB A4 Etuede III. Vivace.aif
DR11 -0.66 dB -15.50 dB A5 Etuede IV.aif
DR12 -3.39 dB -20.40 dB A6 Etuede V.aif
DR11 -4.28 dB -17.78 dB A7 Variation Post. I.aif
DR11 -7.57 dB -24.35 dB A8 Variation Post. II.aif
DR10 -3.25 dB -17.67 dB A9 Variation Post. III.aif
DR10 -4.18 dB -16.79 dB B1 Etuede VI. Agitato.aif
DR11 -0.83 dB -15.23 dB B2 Etuede VII. Allegro Molto.aif
DR13 -3.75 dB -19.25 dB B3 Etuede VIII.aif
DR12 -0.77 dB -17.61 dB B4 Etuede IX. Presto Possibile.aif
DR11 -1.35 dB -15.63 dB B5 Etuede X.aif
DR12 -5.59 dB -24.21 dB B6 Etuede XI.aif
DR12 -0.60 dB -16.73 dB B7 Etuede XII. Allegro Brilliante.aif
DR14 -5.63 dB -24.93 dB B8 Arabeske Op. 18 – Leicht Und Zart – Minore I – Minore II – Zum Schluss.aif
Number of files: 19
Official DR value: DR12
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Große Vorstufe, Erste Frankfurter Röhrenmanufaktur (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 0.7 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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