Schumann as a concept

Martin Stadtfeld recently engaged in the> German Romantiksein> young BachMorgensternNach his highly acclaimed Sony Debuts with Bach (Goldberg), the pianistic by
its clear non-legato playing particularly dunned at Glenn Gould, he has
now established with various Andren recordings as idiosyncratic performer.
Seine at> Bach purwohl also the dry and little singing stop culture (it has so Being?) Because,
can certainly be enlightening also in musical-romantic pianism and
constructive insights lead.
His Schubert example is formulated clear harmonious furnishing and strictly marked, where
he loses his Franzerl bliss, but its high formal status hearing and composition
is understandable.
It sounds a little familiar Viennese strolling or playful-charming,
but articulated musically sophisticated and internally consistent, possibly too serious.

Now in Schumann, the epitome of musical Romanticism, the literary-musical
Dreamers his muses, rich such deliberate pianistic-tangible strategies
as serious as they may be, are not enough.
If the game the visionary-free, schwämerische attitude, creative vehemence
just lacks romantic exuberance, it is not replaced by sophisticated
pianistic detail and interpretive willful do differently (tempos).
A willful, but by no means conclusive interestingness not replace a
essential romantic Fury. The Passionate missing.
Then it all sounds somehow calculated, made and not felt musically.
Stadtfeld Schumann works at best endeavors intellectually, unlike others, but unfortunately only
to make idiosyncratic without accredit the scenes described by Schumann and
animates the rhapsodic-flowing as Dreamy his concert by sound
sounded to a Affetuoso swing.
Although I Stadtfeld's individuality next Andren streamlined-parlierenden pianist
guess here limited his concept be playful design assets.
Robert Schumann Scenes from Childhood Waldszenen Papillons Three Romances
Piano Concerts / Child Scenes
Lipatti Plays Grieg & Schumann