Like Arrau, Pollini oddly uses the first of the two editions of this work published by Schumann in his lifetime—a matter of no great consequence until the finale, which I think is all the better for the compression, albeit small, of the second edition. As for the five early variations Schumann decided not to include in either edition, these Pollini inserts in one group between the fifth and sixth studies, just as Richter often does on the concert platform. At least this is better than constant disruption of Schumann's carefully considered sequence, though I still think they are better played as an independant kind of encore group at the very end—as we get them from Murray Perahia (CBS) and that imposing young Frenchman, Francois-Rene Duchable (Erato/Conifer NUM75046—not submitted for review).
Apart from those two small quibbles, I was enormously impressed by the masterful stature of this new reading. With full-bodied, generously pedalled sonority, a strong sense of direction and a suggestion of cumulative urgency and might, Pollini really does bring home the fact that Schumann chose to call these studies ''symphonic''. I would describe it as a performance of higher voltage than that of Murray Perahia, always one of my top favourites in this work. But Perahia, with his transparent, sometimes lighter, texture, allows himself time to explore the music more personally—especially the five rejected variations and that similarly beautiful duet in G sharp minor, No. 11. In all of these, Perhaia's poetry is hard to beat. Of the more demonstrative studies I also think Perahia makes more of the left-hand semi-quavers in No. 10 (incidentally here Pollini curiously rejects the first edition's few right-hand extras). But Pollini scores in breadth and poise in No. 2, where Perahia's timing is a bit too jerky. In sum, then, a roundabouts-and-swings problem for the collector, only to be resolved by buying both versions. Whereas for a second-side fill-up Perahia chooses Papillons, Pollini opts for the Arabeske, eschewing all drawing-room prettification in favour of firm outlines and boldly contrasted episodes.
Either because of greater studio resonance, or Pollini's freer use of the right pedal, the DG recorded tone sounds fuller and more reverberant than Perahia's CBS sonority, though just once or twice on the cassette I thought there was a touch of steeliness in fortissimo.
The above was already in proof when the CD reached me, so I can only add that I would always play it in preference to the two LP versions. Cynics might say it is only a question of volume—i.e., that the same results can be obtained from LP or cassette provided a control is turned up a notch or two higher. But on brand-new speakers that arrived only days before the CD itself, I found the CD tone decidedly more full-bodied, more mature, even when played at an identical dynamic level, and of course with the advantage of silent background.'