This is one of the finest Schumann recordings I have heard in a long time. Tiffany Poon, who studied at Juilliard with Emanuel Ax and Joseph Kalichstein, is a remarkable young pianist with a fluent technique and a mature, unaffected musical sensitivity. Kinderszenen is vividly projected, with flowing lines, tight rhythms, and perfect tempos and balances. Highlights include the tender ones (‘Pleading Child’, ‘Almost too Serious’ and the concluding ‘The Poet Speaks’) and the very lively ones (‘Catch Me’ and ‘The Knight of the Rocking Horse’). The Arabeske is lovely, direct and with just enough observance of the six consecutive ritards at the end of the Minore I section.

Davidsbündlertänze, the highlight of the album, receives one of the finest interpretations I know. Poon’s refined pianism and thoughtful characterisations are reflected throughout, without excessive rubato or exaggerations. Speed combined with a light touch make Nos 3, 4 and 16 especially successful, and the notoriously difficult Nos 6 and 13 are very exciting, with none of the emergency rubato that many pianists need to apply. The slower pieces, particularly Nos 7 and 11, could not be more lovely. All the best qualities of Poon’s pianism combine in the colouristic and nuanced No 17. Poon brings out the dance qualities throughout this wonderful work in a consistently natural way.

The music of Schumann seems to occupy a special place in Poon’s repertoire – may Kreisleriana be next, please?

This review originally appeared in the Spring 2024 issue of International Piano. Never miss an issue – subscribe today