Schumann: Toccata in C major, Op. 7

Schumann was the quintessential Romantic: perhaps uniquely in his own time, certainly when the present works were written. Like most of his piano music, these pieces date from his early manhood, and all, in one way or another, exemplify his benign egotism and the fundamental generosity of his beleaguered spirit. More concerned with juxtaposing isolated ‘scenes’ than depicting cumulative plots, Schumann derived a unique form of drama from the interaction of contrasting characters. Carnaval (1835), like Elgar’s ‘Enigma’ Variations, is a spectacularly wide-ranging portrait gallery, better regarded as a masked ball than a conventional set of variations. But it was not his first. That honour goes to Papillons (‘Butterflies’), composed four years earlier and modelled on the ball scene from the novel Flegeljahre by his literary idol, Jean Paul.

Composed between Papillons and Carnaval, the magnificent, highly virtuosic Toccata – woefully-often mistaken for a kind of super-Czerny – combines Classical and Baroque influences, both formally and texturally. Sadly, it coincided with, and indeed reflects, the loss to progressive paralysis between 1829 and 1833 of the third finger of Schumann’s right hand: virtually all of this extremely difficult piece can be played without the use of that very finger.

‘The most exciting young pianist to come to Montreal in years. She has a personal magnetism that belongs only to a certain type of virtuoso performer, one who succeeds in hypnotizing you no matter how what he or she is playing… Miss Biret is one of the finest natural Schumann players I have ever come across. In fact I cannot recall ever hearing a better all round performance of Schumann’s Fantasiestücke in any concert hall in this city.’ – The Montreal Star, Canada

This is the third solo CD that David has recorded for Tall Poppies. (See also TP088 and TP135). The centrepiece here is Rachmaninoff's Preludes, Op 32, which David plays magnificently. Rounding out the programme are the Schumann and Fauré works, neither of which are for the faint-hearted pianist, Liszt's rarely played transcription of Mendelssohn's Wedding March and Elves' Dance, and lastly David's own transcription of Sibelius' song, The Tryst.

Treat yourself to some scintillating Aussie pianism!

The prophesy of Tatiana Nikolaeva – “He is the next one”- about her pupil Nikolai Lugansky has become true. Lugansky is now regarded as one of the major pianists from the Russian Piano School, enjoying a dazzling career across all the continents, playing with the most important orchestras and conductors in world-renowned concert venues. He is universally praised for his sincere interpretations, his honesty, his deep burning passion, and last, but not least, his limitless and unbelievably perfect technique.

This Schumann programme offers two major large scale works, played with grandeur and nobility, and a dazzling performance of the fiendishly difficult Toccata. Splendid sonics on this recording dating from the mid '90s.

Recorded: February 22/23 1994, Doopsgezinde Kerk Amsterdam

This series is a complete recording of the piano works of Schumann, and includes pieces which have never been available before on LP or CD.