R Schumann
Fantasie, Op. 17; Carnival Scenes From Vienna; Humoreske
Nikolai Lugansky (piano)
Harmonia Mundi HMM902753 84 mins
While Schumann’s Fantasie in C is ubiquitous in recitals worldwide, the in-joke of the Faschingsschwank aus Wien and the unpredictable discursions of the Humoreske are relative outliers. The technicolour playing of Nikolai Lugansky, however, spruces up these quirkily enchanting pieces with impressive range.
Lugansky has sometimes in the past seemed a pianistic ice-king, his peerless technique serving a somewhat detached style – but not here. His Fantasie brings pianism of tremendous vividness, highlighting the intertwining inner voices from which Schumann weaves his fabric, and building the sound wonderfully from the bass upwards. The central march sounds almost orchestrated; most importantly, the outer movements melt, yearn and soar, carrying this vast love song for Clara to the heights it deserves.
His Faschingsschwank shows off the work’s plethora of good-natured ideas, at their finest in the impassioned Intermezzo. Schumann’s sense of humour has long played second fiddle to his romanticism (with a small r), but the ‘jest’ itself is admittedly its least subtle manifestation, embedding the Marseillaise in a piece for Vienna, where the song was banned.
The Humoreske presents a greater range of atmospheres, a priority that Lugansky sets from the first notes. He makes this somewhat rambling work coherent by giving the music a strong spine without compromising on heart; his grasp of texture is quasi-orchestral, which pays dividends.
The piano’s sound sometimes feels rather heavy for my taste; and Schumann’s own instrument would certainly have had a lighter touch. Lugansky’s playing is, however, otherwise unimpeachable.
