Bach-Busoni: Chaconne; Beethoven: Rondos; Schumann: Kreisleriana

As a preteen, Kissin had a technique most pianists would envy. His solo recordings since have revealed a predilection for Schumann's music, each showing signs of greater interpretive maturity. Now, he uses a combination of great abandon and even greater control to produce a stunning performance of Kreisleriana. The piece is one of the last of Schumann's quixotically titled piano works consisting of generously scaled, poetic movements (eight, in this case) in which technical prowess is absolutely necessary in order to clarify the textures but hardly sufficient to deliver the full expressiveness of this lovely music. Busoni's virtuosic Bach transcription is played with great imagination, and Beethoven's delightful Op. 129 is as wittily performed as it is written. --Paul Turok Amazon.com essential recording

Kiss, Kiss, Kissin!

Kissin is one of my favorite pianists and in my humble estimation one of the rightful heirs to the aristocracy established by the Horowitzes, Richters, Ashkenazis, etc. I have always found Schumann rather "enigmatic" and his writing for the keyboard peculiar. I never really cared for him until I heard Kissin and Yundi Li play him. They both bring such youthfulness and exuberance to a tired venue. I am sick of those dull recordings long thought as the "poetic" standards. B-o-r-i-n-g. Move over and let the new generation have a whack at things! I want to hear ferocity, unbridled virtuosity and intensity. These are too often lacking in classical music where artists tend to fall back on the elitist, reactionary quality of classical music. Classical music can be electric and too often this is not communicated by artists.

I am all for poetry, when it is required, but too often Schumann and Schubert come off as dull and lacklustre. If classical music is to survive we must explore ways to attract a new crowd for the 21st century. Because of generational shifts in society the old audiences are dwindling away, we must fill those halls with new blood. Artists like Kissin and Li can attract them. We must allow the Kissins and Lis to make this their time and hear what they have to say and stop whining about the likes of Horowitz and the old guard. Their time has ended. "Time moves forward, not backwards, nor tarries with yesterday..." Khalil Gibran. Allow the new generation of pianists to shine on their own merits. The Heavens glow in the evening with all manner of stars and constellations, different in intensity and character. April 9, 2007

Coarse, external pianism--a sad disappointment

For the past decade the whisper among piano connoisseurs has been "What happened to Kissin?" He is still publicly adored, and no doubt he's become the richest virtuoso since Horowitz. On the evidence of this CD, however, something magical has been lost. What was once spontaneous, innately sensitive musicality has turned coarse and external. This is most shockingly evident in the Kreisleriana, because Schumann was one of the young Kissin's best composers.

Naturally, there is sitll a complete musician at work here. The Schumann contains many inspiring moments and a flood of dazzling technique. Nobody seriously believes that technqiue is enough in Schumann, though--where's the poetry, the inwardness? I'd say that the earlier pieces come off even worse. The Bach-Busoni is stiff and bombastic, a parody of Bach in the grand mananer, while the Beethoven Rondos sound perfunctory and clipped. I don't blame Kissin if he's bored with being a public idol--he's had to fill the part for most of his young life--but one longs for him to find his better self again. March 18, 2006

Very natural and glittering, but somewhat facile

All three pieces are difficult in various ways. The Bach-Busoni has prismatic changes in theme transformations, odd hand positioning, and technical difficulties galore. Kissin handles all the above easily. This is Busoni at his most exciting. However, a certain depth is lacking. I guess I wanted to hear more of Bach in this piece.

This is the best Krieslieriana I have heard. It is played with a technical proficiency that only Kissin can muster. Again, it is extremely exciting and on the first few listenings, it captivates your attention well. However, after repeated listenings, I was wanting just a little more. I wanted more of the angst that Schumann wrote in his most soulful and yet schizoid work.

The Beethoven is again, technically glittering. No hesitations here. These are excellent interpretations of light showy pieces.

Overall, do buy this CD for Kissin's technique and naturalness. February 9, 2006

addictive cd

First time I heard Kissin play on the stage, nearly seven years ago, I was captivated by his music--not just his technique. To this day, his playing is thrilling and exhilarating to me. And this CD is certainly on the top of all his recordings I own (now, if I were to compare his CDs with all the other CDs I have, ALL of his CDs would be on the top with some Beethoven playings by some well-known pianists on the bottom). His playing of Chaconne is addictive. I'm so glad we don't have to buy tapes these days, because a tape that is playing ten hours everyday would not survive long, and I would have to get another one and another one--
Also, with CD, you can just repeat track one over and over again. I'm not saying that I don't like his Beethoven or Schumann in the CD, but I just don't listen to them as much. I think that Kissin is the Horowitz of my day--boy, I would do anything to see Horowitz playing live, but well, that ain't gonna happen, so Kissin is good. His playing, at times, might not be the best, but is never disappointing.
So Mireille Wastwater, I certainly agree whole lot more with you and don't agree AT ALL with Kalle Kuusava (I'm not quite sure if we have the similar-functioning ears, and Alfred Brendel is one of those "golden age" pianists, well, I guess we don't). The only complaint about Kissin that I have is that he doesn't quite fully understand the different aspects of humanity (well, he grew up on the stage with a piano and applause), and hence, his playing, at times, sounds like that. For instance, I'm not sure if he would ever be able to understand Schumann at the time of his writing Kreislerina--Kissin is whom Schumann wanted to be, so bad enough to try something that would even permanently disable his fingers. Yet, I do hear that Kissin shares Schumann's feelings and other composers' feelings as well; some almost all, some just a little, and most anywhere in between. Kissin has the technique and the musicality, but no, he's not perfect. July 9, 2004

Buy it for the Bach-Busoni!

Kissin's technique is undoubtfully phenomenal. The Bach-Busoni Chaconne on this CD is given an excellent, virtuosic, and passionate reading. The Beethoven Rondo op. 51 no. 2 is given a very sensitive and thoughtful performance. The Rondo a capriccio performance is very exciting and at times humorous. This CD is highly recommended for these works. I personally bought it for the Bach-Busoni. The Schumann is not really played as well as these other pieces. It is surely virtuosic. But I don't think in this recording he understands Schumann all to well yet. Horowitz is still KING in the Kreisleriana, his 1969 recording is unforgettable, surely a contender for one of the best recordings of all time. Kissin's performance just doesn't compare to the Horowitz. On the other hand, Kissin's newer recording of the Schumann Sonata op. 11 and Carnaval is superb and highly recommended.
I'd recommend this CD for the Bach-Busoni and Beethoven rondos, and they really are spectacular recordings, if you are looking for an excellent performance of the Kreisleriana, Horowitz is my top choice. January 1, 2004

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