Renowned pianist Llŷr Williams, having previously delved into the sonatas of Beethoven and Schubert for Signum, now takes on the rich tapestry of Schumann’s piano compositions in his latest release. The two-disc album, featuring a generous selection of works, raises questions about whether it signals the beginning of a more comprehensive survey of Schumann’s repertoire. The absence of clarity in the sleeve notes adds an air of mystery, leaving listeners to ponder the rationale behind Williams’ specific choices among the composer’s extensive body of work.
The collection spans Schumann’s creative timeline, kicking off with Papillons, Op 2, crafted in 1831, and concluding with Faschingsschwank aus Wien, Op 26, composed eight years later. The compilation includes gems like the C major Fantasy, Op 17, and the Op 6 cycle Davidsbündlertänze, alongside the Humoreske, Op 20, and the enigmatic Nachstücke, Op 23, which are less frequently explored.
Williams opens the album with the grand Fantasy, tackling its first movement with deliberate, almost regal precision. The seriousness and intensity of his interpretation compensate for any perceived lack of impulsive excitement, creating a performance characterized by intellectual depth. The scherzo, marked by spectral lightness and seamlessly navigated technical challenges, showcases Williams’ mastery. The finale, with a genuine lyrical flow, maintains emotional distance, yet captivates with its musical finesse.
While some moments in the handling of smaller pieces within the larger cycles may appear less spontaneous – the studied approach to the opening of the Humoreske, for instance – Williams consistently delivers impeccable performances. His interpretations, marked by thoughtful and authoritative playing, ensure lucidity in the realization of each composition. Even when emotions seem kept at arm’s length, Williams’ meticulous execution allows listeners to appreciate the intricacies of Schumann’s piano works in a new light.
