Composer: Robert Schumann
Works: Fantasie, Op. 17; Davidsbündlertänze, Op. 6
Performers: Herbert du Plessis (piano)
Recording: June 1995, Boulogne-Billancourt
Label: Pavane ADW 7348
Robert Schumann, a cornerstone of the Romantic repertoire, imbued his works with a lush emotional landscape, often reflecting the inner turmoil and fervent passions of his life. The Fantasie, Op. 17, written in the wake of his passionate courtship with Clara Wieck, and the Davidsbündlertänze, Op. 6, a collection of dances embodying the dichotomy between his alter egos Florestan and Eusebius, present a formidable challenge for any pianist. Herbert du Plessis’s interpretations of these works, captured in this 1995 recording, invite scrutiny as they engage with Schumann’s complex emotional narratives.
Du Plessis approaches Schumann’s oeuvre with a commendable technical proficiency, demonstrating an ability to navigate the intricate polyphony and rhythmic vitality characteristic of the composer. However, his performances often feel constrained, lacking the visceral Romantic rapture that is so essential to the music. For instance, in the opening movement of the Fantasie, the interplay of lyrical and tempestuous elements fails to fully coalesce into a compelling dramatic arc. Du Plessis’s restraint is evident as he adheres closely to the notated dynamics, which, while commendable in its fidelity to the score, results in a somewhat monochromatic palette that diminishes the music’s inherent vibrancy.
The Davidsbündlertänze reveals similar interpretive hesitance. Each of the 18 short pieces demands a nuanced approach, balancing Schumann’s whimsicality with profound introspection. Du Plessis’s reading, while technically solid, often lacks the imaginative touch and emotional spontaneity of historic interpreters such as Alfred Brendel or Wilhelm Kempff, whose recordings resonate with a more vivid articulation of Schumann’s contrasting personas. The playful, yet melancholic character of the sixth dance, for example, is rendered with a somewhat literal approach, missing the delicate interplay of joy and sorrow that imbues this music with depth.
Recording quality plays a significant role in the overall impact of this release. The piano sound is notably colorless, with a boxy acoustic that constrains dynamic range and timbral richness. Such limitations hinder du Plessis’s ability to project the more ethereal and transcendent qualities of Schumann’s music. The recording lacks the warmth and resonance found in the more engaging interpretations by renowned pianists, further emphasizing the earthbound nature of du Plessis’s approach.
While du Plessis makes a respectable entry into this repertoire, the absence of a deeper interpretive engagement renders this recording less competitive against a backdrop of illustrious performances. The intellectual probing and emotional depth offered by contemporaries such as Maurizio Pollini, whose recent release of the Davidsbündlertänze reveals a searching quality behind the notes, starkly contrast with the more superficial treatment found in du Plessis’s interpretations.
This recording, while demonstrating technical competence, ultimately lacks the imaginative response and interpretive depth that Schumann’s music demands. The resultant performances, though decently executed, do not rise to the occasion of such profound and multifaceted works. For listeners seeking a more resonant exploration of Schumann’s Romantic spirit, established recordings by luminaries in the field will prove far more satisfying.
