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    2. Carnaval, Op. 9: No. 10 A.S.C.H. – S.C.H.A - Lettres Dansantes Live.
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      From Wikipedia, the free encyclopedia

      The Russian company Vista Vera has now embarked on its own Sofronitsky programme. An individualist of powerful personality? Certainly these Schumann performances enshrine uneven musicianship which at its best rises to exceptionally eloquent heights but which can also rely on less immediately appealing characteristics. In Carnaval for instance he takes time - understandably - to warm up but also indulges in some precipitous voicings and some harsh accents in Preambule , quixotic tempo acceleration Pierrot and heavy handed phrasing Coquette.

      This is the kind of performance to be judged on its own terms and reference to say, Rachmaninov's or Myra Hess's legendary recordings is best put to one side.

      B20 Lincoln Hall

      Sofronitsky is aptly full of vigour and incisive rhythm in Lettres dansantes though his speed here is relatively sedate but does tend to make a bit of a meal of the rubato, voicings and dichotomy between rough rhythm and legato in Estrella. Kreisleriana amplifies these occasional extremes of response. In places he's quite expansive, and he tends to prefer relaxed nobility of rhythm to say, Horowitz's sense of momentum.

      Schumann Carnaval (1835)

      That said his gravity and weighted chords in the fourth of the pieces Sehr Langsam is undeniably affecting and taken at a convincing tempo. Arabesque is also fine and an attractive reading. Uneven yes but unsettlingly human and with a technique still able to cope with most demands, Sofronitsky remains one of the troubling giants of post-War pianism. Jonathan Woolf The full text of the review see on www. Do you have any questions about Vladimir Sofronitsky plays Schumann.? Please use the following form to request information. Your name: Email: Please specify what exactly would you like to learn about Vladimir Sofronitsky plays Schumann. Piano 2.