Performing Arts

Today's pianists would be lost without the mid-19th-century music of those avatars of romanticism Fréderic Chopin, Franz Liszt and Robert Schumann. But the relatively objective styles of playing cultivated since the middle of the 20th century have proved poor fits for music all about emotional spontaneity. Too many modern performances of Liszt and company have felt freeze-dried.

In various ways, these three new releases, by three hotshot younger pianists, attempt more personalized approaches. At their best, they suggest something of the freedom of late-romantic pianists captured in the early decades of recorded sound.

The prize here is Yundi Li's first concerto recording. The Chinese pianist, now in his mid-20s, has been marketed as a poet of the keyboard, a kind of thinking person's response to the vulgarities of his countryman Lang Lang.

Sure enough, the more introspective passages of both the Liszt and Chopin concertos are deliciously caressed and scented with just enough perfume. But the showy parts are tossed off with glittery panache. These thrice-familiar pieces come up sounding fresh as can be, with wonderfully responsive collaboration from Sir Andrew Davis and the Philharmonia.

This would rate an unqualified A grade except for disagreeable recorded sound. The piano tone is unnaturally edgy, while the orchestra sounds artificially "staged," as if left and right sides were in different rooms.

Another twentysomething pianist, the American Jonathan Biss, just misses the magic of the greatest Schumann interpreters. But these have the effect of old-master performances, finely balancing intellect and sensitivity. Sound is realistic, but a little more space around the piano would be welcome.

Now in his mid-30s, Evgeni Kissin is the "old man" here. This new Chopin sampler, short measure at only 56 minutes, essays Grand Manner extravagance: a considerable coloristic range, extravagant rubato.

At first hearing, it's a welcome change. But the pushing and pulling are sometimes overdone to the point of distraction, notably in the Op. 66 Fantaisie-Impromptu. And the ear takes some getting used to the odd recorded sound, from Switzerland's Verbier Festival. The piano sounds as if it has a head cold, but one gets used to it.

A-

Piano Concerto No. 1 (both composers)

Li, Philharmonia Orchestra, Davis (DG)

B+

Fantasie in C major; Kreisleriana; Arabeske in C major

Biss (EMI Classics)

B-

Polonaises (four); Impromptus (two); Fantaisie-Impromptu

Kissin (RCA Red Seal)