June 8 was the anniversary of Robert Schumann’s birth and I thought it might be worthwhile (albeit belatedly) to feature some great historical recordings of the composer’s piano works. The varied nature of his music – innocent and childlike one moment, quixotic and impulsive the next, yet always with beautiful melodies and fascinating textures – opens it up to a wide range approaches, which is of course the case with all great scores. As with the Chopin Celebration posted here for his birthday, this is not by any means to be considered a ‘complete’ or even comprehensive survey of pioneering recordings of Schumann’s works, but simply a taster of some vitally important performances by some of the greatest pianists to have committed their interpretations to disc. So here, in no particular order, is a selection of marvellous readings of some of the great composer’s works.

The legendary Russian teacher and pianist Josef Lhévinne made barely an hour’s worth of solo recordings, all of which have now acquired legendary status. One of the most revered of these is his supreme 1935 traversal of Schumann’s Toccata Op.7, justly admired for gorgeous tonal colours, accents that are pronounced but without any harshness, wonderfully voiced and weighted chords, and a fluidity rarely heard amidst such challenging figurations – and that magnificent soaring singing line.

Russian composer Sergei Rachmaninoff was also a supreme pianist and upon leaving his motherland embarked on a major career as a concert performer, leaving behind 10 CDs’ worth of recordings that are thoroughly mesmerizing. His 1929 recording of the Carnaval Op.9 is considered by many to be the grandest traversal of the work. Despite not being note-perfect (a rarity with Rachmaninoff) and lacking some repeats, this performance is notable for its rhythmic vitality, tonal colours, and wonderful voicing.

The legendary British pianist Dame Myra Hess was an audience favourite for decades, her golden touch and exquisite sensitivity belying the great power she could bring to more commanding works of the repertoire. She was well-known for her readings of Schumann’s Piano Concerto and the Etudes symphoniques, but this charming performance of the Vogel als Prophet from Waldszenen Op.82 is a wonderful snapshot of her pianistic mastery: fluid phrasing, a glowing sonority, incredible dynamic control, and articulation that is beautifully defined even in the auric glow created by her discreet pedalling.

Alfred Cortot‘s aristocratic yet impulsive pianism is ideally suited to Schumann’s music, and he recorded a great deal in the 1920s and ’30s. His 1937 account of the Davidsbündlertänze Op.6 captures both the beautiful and quixotic elements of the composer’s writing with Cortot’s aromatic sonority, soaring phrasing, evocative timing, and wonderful tonal effects.

The British pianist Harold Bauer was famous for his beautiful touch (he and Haskil had both started with the violin, which may have benefitted their tone production), and among the artist’s three CDs’ worth of recordings is a superb 1935 traversal of Schumann’s Phantasiestücke Op.12. Bauer’s reading of the suite’s opening opus Des Abends is a fine example of his marvellous tone, refined dynamic range, exquisite pedalling, and wonderful sense of timing.

Benno Moiseiwitsch was one of the titans of the keyboard, powerful yet always elegant in his readings. His 1953 account of Schumann’s massive Fantasie Op.17, recorded at EMI’s Abbey Road Studio No.3 on a wonderfully responsive Steinway, captures his glorious array of tonal colours, discreet pedalling, aristocratic timing, and sumptuous phrasing.

Carl Friedberg studied with Clara Schumann, wife and widow to the great composer (and a fine pianist and composer herself), and although he made no records until he was over 80 years old, his playing is well worth exploring. His 1953 recording of the Romance Op.28 No.2 features remarkably free rhythm, fluid phrasing, and beautiful tonal colours.

Hungarian pianist Geza Anda‘s debut disc with EMI’s Columbia label in 1953 included a stupendous reading of the Etudes symphoniques Op.13 that is vastly superior to the three other studio recordings that the pianist made. The superb acoustic and responsive Steinway piano (the same used by Lipatti and Moiseiwitsch in their recordings presented in this feature) serve the artist wonderfully, and his stunningly clear articulation and beautifully refined tonal colours are a marvel to behold.

Romanian pianist Clara Haskil led a life of suffering that seemed to align her particularly to the music of Mozart and Schumann, and she was able to highlight both the childlike simplicity and darker undertones ever-present in these composers’ works. Her magnificent 1955 Philips recording of Kinderszenen Op.15 is a case in point, with moments of exuberance and unbridled joy wonderfully contrasted with introspection, mystery, and deeper emotionality. Haskil’s gloriously refined tonal palette, crystalline clarity, and disarmingly direct phrasing are far more difficult to achieve than she makes them sound – this is utterly masterful pianism.

Carlo Zecchi was a disciple of the great Ferruccio Busoni but would shift from a career as a pianist to that of a conductor. Nevertheless, in addition to some recordings made in his prime, Zecchi left some fantastic private and broadcast recordings at the keyboard, among them this private 1967 traversal of Schumann’s Album für die Jugend Op.68. Despite being aged 70 at the time and not having made his living as a pianist for some decades, Zecchi plays with magnificent fluidity, great dynamic control, beautiful voicing, and gorgeous tone.

Russian pianist Youri Egorov‘s tragic death at the age of 33 robbed the world of one of the great pianists, one with a particular affinity for the works of Schumann. This March 7, 1987 concert performance the Bunte Blätter Op.99 captures his magnificent Schumann playing wonderfully, with a gloriously polished sonority, broad dynamic range, and sensitive lyrical phrasing that preserves the integrity of the melodic line.

Natan Brand was one of the originals of the keyboard, an artist who sadly never had the exposure or career that his talent warranted before his untimely death at the age of 46. His mercurial temperament and powerful pianism was ideally suited to the music of Schumann and his 1985 Amherst concert performance of Kreisleriana Op.16 has now become legendary (Leonard Bernstein apparently once heard him in the work and said, ‘You play it better than Horowitz!’). What soaring phrasing, full-bodied tone, luscious interplay between primary and secondary voices, and expansive rubato – the final few minutes of this performance are particularly stunning!

Belgian pianist Michel Block was not particularly a major headliner but was very respected by his colleagues and the concertgoers who experienced his refined playing. This 1977 recording of a much later opus of Schumann’s than is often played – the Gesänge der Frühe Op.133 – showcases Block’s poised voicing (how impeccably balanced the opening chords are!), wonderful pacing, and burnished melodic lines.

The virtually forgotten German pianist Eduard Erdmann was a very individual performer, being a philosopher and composer as well, and Schumann was one of his true loves (German EMI released a terrific vinyl set featuring the pianist’s 1950s Schubert and Schumann recordings). This 1950s reading of Schumann’s rarely-played Konzertstück Op.92 – a frequently ignored work for piano and orchestra – is filled with rhythmic vitality, ravishing tone (what glistening trills and melodic lines!), and great gusto.

To close this tribute to Schumann, the great Romanian pianist Dinu Lipatti in his classic studio account of the Piano Concerto in A Minor Op.54. Long a favourite of collectors and critics, this April 9/10, 1948 EMI recording finds the 31-year-old pianist playing with tremendous vitality and polish, with a glorious sheen to his sonority and beautifully burnished lines. While he had thoughts that Karajan’s ‘super-classical’ tempi curtailed some of the more nuancing he had hoped to express, this recording became an instant classic and has been held as the gold standard for the last 70 years.