Pianist
Ll¿r Williams
has built a following with recordings of
Beethoven
and
Schubert
, and with this double album, he plows forward into
Schumann
; the works on the album are mostly early, so one assumes that this is the first in a cycle. The appearance of the album on classical best-seller charts in early 2024 should encourage the folks at
Signum Classics
to proceed.
Williams
is a sober player whose style may remind listeners of a certain age of
Rudolf Serkin
. He has remarkable control in the larger pieces that frame the program here, the
Fantasy, Op. 17
, and the
Faschingsschwank aus Wien, Op. 26
. He certainly doesn't lack control in the smaller pieces, either. The issue is that these pieces, especially lately, have been treated, backed by
's own writings and programmatic descriptions, as examples of free fantasy. It is not that
' playing is inexpressive, but he tends to let the fantastic in
's music speak for itself. Sample the brief "Ungeduldig" ("Impatient") fourth movement of the
Davidsbündlertänze, Op. 6
, which few would call impatient.
' playing in the
Papillons, Op. 2
, is exquisitely delicate, and throughout, there is a fine sense of line. He has an approach that is unorthodox in
, and that is all to the good. However, listeners should do some sampling to see how well they take to it. Producer
Judith Sherman
records the album well at a pair of locations at St. Paul's School and the Wyastone Estate, capturing the clarity of
' performances. ~ James Manheim