Ivan Gusev, Piano

Tenri Cultural Institute, New York, NY

March 15, 2025

It was an intimate affair at the Tenri Cultural Institute this evening where a small group gathered to hear pianist Ivan Gusev perform a varied program for The Leschetizky Birthday Recital, a yearly event that celebrates the renowned pedagogue Theodor Leschetizky (1830-1915). With a direct line to Beethoven, Leschetizky taught a great number of pianists in the late 1800s, including Ignacy Jan Paderewski (1860-1941) and Artur Schnabel (1882-1951), just to name two. As the president of the association Zelma Bodzin pointed out, one would be hard-pressed to encounter a professional pianist active today that doesn’t inherit at least one of the lineages of piano pedagogy, Leschetizky’s being one of them.

Mr. Gusev’s program was inventive and adventurous – it began with his own transcription of a Fantasia for Keyboard in D (FVB 124) by Thomas Morley (1557-1602), an English composer of the late Renaissance whose compositions were primarily for the virginal, a keyboard instrument in the harpsichord family of that time. The transcription stayed true to the tone of the original work. The sound was crisp and vibrant, and Mr. Gusev’s improvisational approach was expressive yet tastefully restrained. This balance created a compelling and refreshing start to the evening.

A standard piano recital moves chronologically through the eras, and although this reviewer’s taste is to let go of these traditions that can feel restrictive, the arc of this program was thoughtful enough that the following classical sonata was  organic to the program –  the Sonata in E Minor, Hob. XVI:34 by Franz Josef Haydn (1732-1809). Mr. Gusev launched into the Presto with both vigor and elegance, demonstrating meticulous attention to detail. However, the sense of spontaneity was somewhat lost, as the abrupt rests with fermatas felt overly deliberate. A more natural and unexpected approach to these pauses could have enhanced their impact. The last three octaves could have also benefited from a similar approach. The second movement, Adagio, was performed with fantasy calling back the rhythmic freedom of the Morley work. The last movement, Vivace molto, began at a good clip and with a light and airy touch. A bit more differentiation within the variations of the melodies could have benefited this movement as well as a healthier, more grounded pulse in the E major section. Additionally, a more decisive conclusion would have better served the drama of the work—Mr. Gusev’s tendency to sustain the pedal after lifting his hands occasionally softened the impact of the final moments of the sonata.

Seven Christmas Miniatures (2025) by Siberian composer (and colleague of Mr. Gusev) Roman Khozeev was next. This was a world premiere as the work had just been finished in January of this year. These seven miniatures took us to a variety of sound worlds in which Mr. Gusev was fully immersed. We were taken from a nostalgic folk song to a world with sparseness and openness with the first two movements. The third, a more contemporary and easy-going movement was followed by a playful and innocent scene. The endings of each of these vignettes were sudden but always in character and Mr. Gusev never broke from it until the very last moment. The last movement in particular was full of motion of a delicious dissonances in which Mr. Gusev reveled. The arresting ending was a great finale to the set. One looks forward to hearing more from this interesting composer.

To contrast but also compliment the new work was a warhorse by Sergey Prokofiev (1891-1953), the Toccata, Op. 11. This early work of Prokofiev is known for fiendish difficulty in its motoric sections, especially with the repeated notes, and his use of the grotesque and sarcastic characters is present in full force. Mr. Gusev approached it with precision and control; however, the opening repeated Ds could have carried more momentum to fully establish the exhilarating journey ahead. To heighten the work’s intensity, a performance infused with greater propulsion, fluidity, and dynamic energy would have been more effective—while meticulously executed, this interpretation lacked the visceral impact that gives the piece its driving force.

As part of today’s birthday celebration, Mr. Gusev presented three delightful works by Leschetizky following intermission. A prolific composer as well as a renowned pedagogue, Leschetizky exemplifies the expressive depth and elegance of the Old-World Romantic tradition. These Three Meditations, selected from his Six Meditations, Op. 19, serve as a testament to the lyrical and refined style in which he both composed and taught. Mr. Gusev delivered each piece with a commitment to its distinctive character, capturing their charm and lighthearted spirit. It was refreshing to hear works from this era that remain relatively unexplored in performance.

The popular Arabesque, Op. 18 by Robert Schumann (1810-1856) followed continuing the Romantic-era sound world. The playing was spontaneous with excellent and refined phrasing. This performance was imbued with moments of consolation which were heart-wrenchingly beautiful. The in-between sections, which can be a challenge to some performers were expertly handled, creating seamless and unified transitions.

To end the program, Mr. Gusev chose a large-scale work by Schumann, the Fantasie in C, Op. 17. It is in a work of this magnitude that one can really get to know a musician’s mind at work, and it was apparent in tonight’s performance. Mr. Gusev is an intelligent and unhurried performer. The first movement, which can very often be misinterpreted as one of virtuosic display was rendered with the necessary sweep but with intense care to communicate each nuance. Mr. Gusev was able to sculpt each passage where we were able to hear thematic connections while keeping the overarching construction in mind. The intimate ending of the first movement was particularly special.

The second movement, Mäßig. Durchaus energisch, began in a grand manner and the chords communicated an extravagant sound. The B-section was played with a beautifully intoned sound which highlighted the melodic lines against the dotted rhythms. The notoriously challenging leaps in this movement presented some difficulties for Mr. Gusev, resulting in occasional memory lapses and slight imprecisions, but these minor inaccuracies didn’t take away from the grandeur of the movement. The final movement, the heart of the work, resonated like a meditation, with its seamless texture of broken chords and a lyrical, singing melody –  was beautifully done by Mr. Gusev.

The appreciative audience clapped for Mr. Gusev to come back to the stage for an encore and, fittingly, he served us with Träumerei by Schumann. It was intimate and tender. Another round of applause begged for his return and Chopin’s Etude in F minor, Op. 25 No. 2, closed the concert with a buzzing virtuosity.

 

by Walter Aparicio  for New York Concert Review; New York, NY

Carrie Koffman, saxophone

Charles Neidich, clarinet

Ayako Oshima, clarinet

Mohamed Shams, piano

Tenri Cultural Institute, New York, NY

March 9, 2025

There was an electric energy in the room before this afternoon’s concert at the Tenri Cultural Institute. I presume it was the anticipation of the return of the Wa Concert Series after a hiatus. As stated by Charles Neidich in his charming opening speech, they had a return last year, and today’s event is a taste of what is in store for this intrepid organization. At first glance, the programming seemed a bit scattered, but as the concert went on, more connections began to emerge, and this reviewer was fascinated by the thoughtful curation of the afternoon’s music.

The first piece on the program was Sarabande et thème varié for clarinet and piano (1903) by Reynaldo Hahn (1874-1947). Hahn, a Venezuelan-born composer, moved to Paris as a child and inherited the French tradition. This work, with nods to the Baroque era, couldn’t be more steeped in the French simplicity of the time, a reaction to the late romanticism of Wagner and the Impressionism of Ravel and Debussy. His most well-known works are songs, and this work is replete with beautiful melodies throughout. The clarinetist Ayako Oshima enchanted the audience with a seductive tone. The triumphant ending was full of joy and was met with a roaring applause from the audience. It was a beautiful start to the concert.

A contrasting work by Elinor Armer (b. 1939) followed called Double Sonnet for Two Clarinets (2003) performed by Mr. Neidich and Ms. Oshima. The duo delivered a confident and compelling interpretation of this dynamic piece, skillfully highlighting its intricate, sinuous lines with flair. Their decisive articulation enhanced textural clarity, resulting in a vibrant and immersive sonic experience. The button to end the work was particularly delightful. Line Drawings by Richard Wilson (b. 1941) is in four movements. Each of these brief movements encapsulated a distinct, self-contained world. The first communicated serenity; the second a pointillistic approach; the third an earthiness, and the fourth was spacious and lean. It was a great compliment to the Armer piece.

The final piece on the first half was the Clarinet Sonata by Aaron Copland (1900-1990). This clarinet and piano work immediately captivated the audience, drawing them in from the very first chords. Mr. Shams delivered these chords with a nuanced understanding of the style’s tonal demands. The opening evoked a unique blend of solitude and happiness—an emotional duality that perhaps only Copland could achieve. The complex rhythms of the first movement were handled expertly by both duo members of which the climax was particularly exciting. This made the heart-wrenching end to the first movement particularly beautiful. Another duality emerged in the second movement—the contrast between warm and cold sonorities. This poignant movement had an understated intimacy and clarity, and when themes from the first movement reappeared, they were cast in an entirely new light. The last movement provided a much-needed relief from heavy feelings. The crisp articulations from Mr. Neidich were not only impressive to hear but also full of joy and elation. The unexpected rhythms seemed to jump off the page communicating the mixed meters and an additive approach as well as a sound inspired by American folk. This energetic movement was a great choice to unify the works of the first half of the program.

After a brief, intermission, the audience was hungry for more – and they were in for a treat. A set of works for chamber and solo saxophone commenced. hush for solo Alto Saxophone (2018) by Gilda Lyons (b. 1975) was the most adventurous piece on today’s recital. In the words of the composer: “ [hush] is fueled by the need to explore, unpack, and reexamine the ways a women’s voice can be informed by received gendered language over the course of a lifetime. Reflecting on my own experience, I honed-in on specific phrases that evolved in meaning for me and set them as spoken words within the context of contrasting musical lines…while exploring percussive, often breath-driven sounds that point to, among other things, pulse and heartbeat, and that contrast the recurring, sustained shush gesture that evolves over the course of the piece.” And what an effective performance this was. From the very first “shhhh” the saxophonist Carrie Koffman arrested the audience’s attention. As the piece developed, the intention of the composer was clear without being too obvious or patronizing and the seemingly humorous spoken words became more meaningful, leaving the listener in thought.

The next work by Ellen Taaffe Zwilich (b. 1939) was Remembrance (Lullaby and Lament) (2024) for alto saxophone and piano. Ms. Koffman spoke about how the composer, a fellow adoptee, wrote this piece to spark awareness of the many hurdles adopted individuals have attaining their original birth certificates. The work had a jazzy undertone and even quoted the famous Brahms’ Lullaby, and, if this reviewer is not mistaken, also the Schubert Ständchen towards the end.

Gabriela Ortiz (b. 1964), the celebrated Mexican composer, was next on the program with a work she wrote for the musicians in today’s program. Carrie Koffman and Ayako Oshima performed Las Dolly Sisters for Clarinet and Alto Saxophone (2021) about two vaudeville twins. This entertaining work was had a very sexy dance feel; however this reviewer feels the performers could have exploited the supple and syncopated Latin pulse more. It felt as though the work wasn’t completely integrated yet; nonetheless it was an admirable introduction to this interesting work!

The closing work was the Clarinet Sonata, Op. 167 (1921), by Camille Saint-Saëns (1835-1921). This sonata, composed during the last year of his life, is a romantic work at heart. The first movement felt like a love poem to the instrument, exploiting all its facets and capabilities. The lightness of the second movement was executed expertly by Mr. Neidich and Mr. Shams,  whose collaboration throughout the program was top notch to say the least! The funereal third movement was full of pathos and featured the instruments deep and guttural tones only to contrast it with moments on the other extreme of the instrument, angelic and high. With an attacca fourth movement, the work comes full circle as was typical in many romantic pieces with a nostalgic stating of the theme from the first movement.

The entire group came back for a short encore by the French composer Germaine Tailleferre (1892-1983) – Allegretto for Three Clarinets (but this time with on part on saxophone). It was the perfect sorbet after a concert of demanding and interesting repertoire.

The Wa Concert Series plans to continue their programming this year and we look forward to another concert full of surprising and decadent music! Ms. Oshima reminded the audience of her love of cooking and graciously provided a reception for the audience to greet the performers. Perhaps there’s a concert pairing repertoire with specific dishes in the future of the group?

by Walter Aparicio  for New York Concert Review; New York, NY

Ian Hobson, piano

Lucia Lin, violin

Ko Iwasaki, cello

Tenri Cultural Institute, New York, NY

December 13, 2024

Tonight’s concert featured pianist Ian Hobson and friends in the next installment of Mr. Hobson’s exploration into the complete piano works of Robert Schumann (1810-1856). Because chamber music was a large part of Schumann’s output, he chose to focus on the piano trio this evening – a genre deeply cherished by  many composers. Mr. Hobson shared the stage tonight with violinist Lucia Lin and cellist Ko Iwasaki.

The program began with Schumann’s Piano Trio No. 2 in F major, Op. 80 – a work that was apparently well-regarded by his wife Clara. She writes, “It belongs among those pieces of Robert’s that, from beginning to end, move and charm me in my deepest soul.”

The first movement, Sehr lebhaft, began strong but wasn’t as rhythmically taut as it could have been. As the movement went on, there was more of a sense of unity within the trio, and we were able to enjoy a development section that was full of vivacity and energy.

The second movement, Mit innigem Ausdruk, felt anxious and rushed, missing the serenity and calm inherent in its character. Additionally, the piano’s weighty tone at times overpowered the ensemble. However, the middle section stood out for its profound inner expression, beautifully rendered by Mr. Iwasaki and Ms. Lin. The third movement, In mäss Bewegung, communicated a healthy pulse at first but left the listening wanting more poetic interplay between the instruments.

The last movement, Nicht zu rasch, was full of joy and verve. This expansive movement is a very Schumannesque final movement- a driving pulse with intricate and imitative thematic material between all the parts. The ensemble was successful in delineating all these voices with great clarity. The movement ended with a big flourish.

The next trio on the program, the Piano Trio No. 3 in G minor, Op. 110, composed in 1851, provided a striking contrast to the previous work. The alluring opening was performed with gusto – however, sometimes the piano could have left room for the strings to sing out. The second section lacked an air of mystery, and the more fugal passages could have been executed with greater rhythmic and sonic precision. Despite these challenges, violinist Ms. Lin anchored the ensemble effectively, leading to an exciting climax in the first movement.

The second movement, Ziemlich langsam, struggled to convey a true sense of collaboration; while the ensemble played together, they didn’t always seem fully on the same page. However, the second section delivered a dramatic intensity that culminated in a tender and touching conclusion. The final movement marked a turning point, as the ensemble began to gel, presenting a well-crafted and thoughtfully paced finale.

The second half of the program featured the Piano Trio No. 1 in D minor, Op. 63. The opening of the first movement, Mit Energie und Leidenschaft, was fiery and confident, setting the tone for the work. The transitions between sections were worked out well and there was a suppleness in the lines, particularly from the violin.

The second movement, Lebhaft, doch nicht zu rasch, had the violinist in command. It was rhythmic but not always communicating excitement – it was a rather cold reading, but the trio managed to hold the movement together well and the ending was brilliant. Next was the third movement, which had a bit of a reserved quality. It would have been lovely to hear more color changes throughout and a more careful approach, though it was still well-crafted. The final movement, Mit Feuer, had a lighthearted quality which the trio was able to communicate well. The changes of character were well-planned and the interaction of the members of the trio was successful.

These three Schumann Piano Trios, though sometimes sprawling, are a generous contribution to the genre. What a treat it was to hear them all in one concert this evening! It is clear that Mr. Hobson’s commitment to this composer allows him to delve deep into the intricacies of his compositional style for the piano, and, in tonight’s case, chamber music. The Schumann cycle continues March 21, 2025, where Mr. Hobson will present Colorful Album Leaves.

 

by Walter Aparicio  for New York Concert Review; New York, NY

Jimin Han, piano

Judy and Arthur Zankel Hall at Carnegie Hall, New York, NY

November 24, 2024

Tonight’s performance at Zankel Hall featured pianist Jimin Han in an inventive and adventurous program with modern works that are not often played. It is refreshing to see an artist with a commitment to introducing new works to audiences – it is a testament to this performer’s bravery and brilliance.

The most well-known composer on the program was Samuel Barber (1910–1981), though the works performed tonight were far from the usual selections found on recital programs. The Ballade, Op. 46, opened with a set of arresting chords that immediately drew the listener into Barber’s unique sound world. Drawing inspiration from Frédéric Chopin, a renowned composer of ballades, Barber wrote in the duple meter of 6/8, yet he infused the form with his own dramatic harmonic language. Ms. Han brought a transparent, luminous tone to the opening section, while her interpretation of the intense middle section displayed both power and command. As the A-section returned, she evoked a haunting sense of the drama that had just unfolded.

The Nocturne, Op. 33, is another rarely performed work, again belonging to a genre strongly associated with Chopin, but here dedicated to John Field, who is credited to be originator of the form. While its thematic content employs twelve-tone techniques, the piece is crafted in a way that maintains a sense of a tonal center. Ms. Han’s performance displayed great sensitivity, though it could have benefitted from a more singing tone. A more successful interpretation might have embraced the interplay between the work’s angular, expressive melodies and its harmonically grounded, traditional elements, fully exploiting its unique character. This nocturne develops and uncovers more and more drama which was handled technically well, but left the listener wanting for a grander climax, especially in the intricate and beautifully dissonant cadenza. The ending could have had more of a sense of gravity.

Next on the program was a piece by Aaron Jay Kernis (b. 1960), LullabyfromBefore Sleep and Dreams. This piece had a hypnotic opening which Ms. Han played in a captivating manner. Her keen sense of pulse captured the lullaby’s gentle rocking motion, while the surrounding material seemed to float effortlessly. She navigated the larger, more romantic outbursts with expertise, skillfully exploiting the piece’s coloristic use of registers. This alluring work provided a beautiful and seamless transition from the more serious tone of the Barber pieces.

Another new work for this reviewer was one by Paul Schoenfield (1947-2024), Selections fromPeccadilloes. These three movements were interesting as they all referenced Baroque dances and older forms, but seen through a modern lens. The first movement, Allemande, was particularly striking, with its harmonic intricacies brought to life with great clarity by Ms. Han. While the piece began with rhythmic and textural nods to the traditional Baroque dance, it soon evolved into something more intimate and contemporary, blending old and new in a compelling way. The next movement, Fughetto, was the highlight of the three. This energetic fugue was expertly handled, and all the surprising syncopated and jazzy rhythms were delineated beautifully – what a wild ride for the performer and the listener! The last movement, Waltz, began with a mystical opening. Ms. Han was able to successfully guide the listening through the intricacies of the sophisticated harmonies and still communicate the essence of the dance. The end was supple and performed with great care – a satisfying conclusion to the first half of the recital.

The second half of the program had works by three Korean composers. It is an important endeavor to highlight composers from parts of the world that are typically underrepresented on recital programs. It was exciting to see unfamiliar names on the program, and I commend Ms. Han for her dedication to performing not only works by composers from her own cultural heritage but also pieces by living composers who are actively writing new music.

The first work, The Wave, was by Bumki Kim (b. 1974). This programmatic piece depicts the waves on the Southern Coast of Korea, a storm, and the calming of that storm by the sunrise breaking. This is achieved by a lulling and continuous patterns that eventually explode into a giant climax. The composer exploits the instrument through its extreme range and dynamics. Some of the louder sections felt a bit forced by Ms. Han as they could have been played grander and with more resonance. However, it was still a successful performance, and she had good control over the arc of the work.

The Little Blue Bird Dance Suite by Korean composer Heejung Park (b. 1978), another programmatic work, uses the bluebird symbolically. The piece depicts the story of a little bluebird being pursued by hunter unknowingly. The innocent opening is followed by an ominous scene where the “bluebird [is] left behind be its mother in a dark forest at dawn.” The drama of the work unfolds organically and naturally – and Ms. Han carries the audience through to the different sections seamlessly and with great poise. It was wonderful to see the composer present and acknowledged at the conclusion of the work.

The centerpiece of the program, in this reviewer’s opinion, was the next work: the Complete Piano Etudes by Unsuk Chin (b. 1961). While these works are becoming increasingly recognized, they are still rarely programmed in recitals—perhaps due to their extreme difficulty, which are on a par with the Ligeti etudes. However, Chin’s approach is distinct, drawing inspiration from various sources rather than directly following Ligeti’s model of solving compositional problems.

The first étude, In C, uses the overtones of C to establish its harmonic foundation while incorporating elements inspired by Balinese gamelan music, reminiscent of the approach taken by early 20th-century French composers. The result is a dazzling display of color, technique, and sound that can captivate even the most skeptical audience member. Ms. Han performed this etude magnificently and played the most complex passages with ease. Etudes 2 through 4 are of a different word and certainly the one that stands out is No. 3, Scherzo. She performed this with a distinct touch and character. The figures were played in a shapely manner while still maintaining drive and a sense of the greater pulse. The famous etude No. 5, Toccata was precise, and Ms. Han followed the longer line of long tones quite well – an impressive feat! And, finally, No. 6, Grains, felt like a kaleidoscope of sounds. Ms. Han certainly knows her way around these works!

At first, the programming of the recital seemed somewhat mellow, with the pieces in the first half conveying a similar tone. However, upon further reflection, it became clear that the intentional placement of the Chin études allowed for a gradual build-up, guiding the audience on a journey toward the apex of these extraordinary works. I appreciate the artist’s thoughtful programming and look forward to seeing her in another recital in the future.

Ms. Han concluded the recital after thunderous applause with an encore: Hesitation Tango from Souvenirs, by Samuel Barber – a perfect bookend to the evening.

                                                                                                                                 

by Walter Aparicio  for New York Concert Review; New York, NY

Ian Hobson, piano

Tenri Cultural institute, New York, NY

November 15, 2024

Tonight’s performance was another retrospective into the complete piano works of Robert Schumann (1810-1856) by pianist Ian Hobson. This program, titled Visions of Youth, explored works that not only were composed for young pianists and students, but also reflected on childhood memories and themes.

It is rare for a recital program to feature works typically assigned to young learners, especially when performed by a pianist of Mr. Hobson’s caliber. The first half of the program, however, offered just that. Album für die Jugend, Op. 68 (Album for the Young), a staple in every piano instructor’s library, was presented in its entirety. Hearing the complete set was a different and enlightening experience, offering insights into Schumann’s thought process as he sought to encompass a wide range of fundamental piano techniques and expressive elements.

Mr. Hobson’s interpretations were thoughtful, imaginative, and sophisticated—qualities that brought a surprising depth to these simple pieces. Of particular note were No. 5, Stückchen, No. 16, Erster Verlust (First Loss), and No. 18, Schnitterliedchen (Little Reaper’s Song), which were rendered with supple lines and beautiful touches of imagination. The faster movements bristled with energy and verve: No. 2, Soldatenmarsch (Soldier’s March) was bold, and No. 12, Knecht Ruprecht (Servant Ruprecht) was suitably turbulent.

The program’s better-known pieces were a delight to hear. No. 10, Fröhlicher Landmann, von der Arbeit zurückkehrend (Merry Peasant, Returning from Work) radiated joy, and No. 14, Kleine Studie (Little Study) unfolded with ease. However, No. 8, Wilder Reiter (Wild Rider), with its galloping rhythm, was taken a bit too fast, resulting in some loss of clarity, particularly in the B section. Similarly, No. 17, Kleiner Morgenwanderer (Little Morning Wanderer) and No. 25, Nachklänge aus dem Theater (Reminiscences from the Theater) could have benefited from a warmer tone and a lighter touch.

The seldom-heard later movements were a revelation. No. 20, Ländliches Lied (Country Song) was tender, and No. 30 (untitled) revealed a more introspective and contemplative side of Schumann—one that might well have been attributed to Eusebius. These pieces encapsulate every facet of piano technique and musicality from beginner to advanced, offering a treasure trove of delights for both performers and listeners.

The second part of the concert began with Drei Clavier-Sonaten für die Jugend, Op. 118(Three Sonatas for the Young) —late works that provide a glimpse into the talent and skill of the composer’s three children, for whom these sonatas were written. While the idea of new piano sonatas for students is intriguing, these pieces require young learners of exceptional ability to navigate their challenges.

The first sonata in G major stands out as one of the more engaging works. Its short movements are captivating, and they were performed with great care. The second movement, a Theme and Variations, was particularly striking, in originality and character. The third movement, a lighthearted piece, felt more like an introduction to the lively Rondoletto that followed. A touch more rhythmic swing might have better conveyed the character of this final movement.

The second sonata, more esoteric in nature, was skillfully interpreted by Mr. Hobson. Despite the repetitive nature of the first movement, it maintained enough contrast to charm the listener. The second movement, an exercise in counterpoint, offered a technical challenge well-suited to young pianists. The serene Abendlied (Evening Song) served as the slow movement, while Kindergesellschaft (Children’s Company) captured the innocence and playfulness of childhood. An intriguing work!

The final sonata embarks on an adventurous journey in C major. The Allegro was played with a lively spirit and dynamic color shifts that highlighted harmonic changes. The second movement, reflective and meandering, was quintessentially Schumann in its introspective quality. The bold and bombastic Zigeunertanz (Romani Dance) brought energy and flair, while Traum eines Kindes (A Child’s Dream) closed the piece with imagination and nostalgia. By referencing the first movement, this finale achieved a satisfying sense of cyclicality.

Certainly, the most well-known works on tonight’s program are the Kinderszenen, Op. 15. Though inspired by childhood, these scenes are not intended as teaching pieces for children. Instead, they evoke a sense of nostalgia, capturing fleeting moments of childhood through a reflective lens.

One of my personal favorites, No. 1, Von fremden Ländern und Menschen (Of Foreign Lands and Peoples), was played with beautiful simplicity by Mr. Hobson. Among the highlights were No. 3, Hasche-Mann (Blind Man’s Buff), whose buildup to the climax was masterfully executed, and No. 4, Bittendes Kind (Pleading Child), which left the audience nearly breathless. No. 5, Glückes genug (Happy Enough) might have benefited from a more transparent interpretation, but it remained enjoyable.

At the heart of the work is, of course, the iconic No. 7, Träumerei (Dreaming), a piece with a history of being performed on its own by many world-renowned artists. However, tonight’s performance felt too grounded in the real world, lacking the fantasy and introspection that define this beloved movement. In contrast, No. 10, Fast zu Ernst (Almost Too Serious) and No. 11, Fürchtenmachen (Frightening) were especially memorable, showcasing Mr. Hobson’s sensitivity and attention to detail.

Tonight’s concert was a rare and remarkable experience, bringing together a complete performance of these cherished works. It is hard to imagine having the opportunity to hear these pieces presented collectively in a single recital again. Mr. Hobson’s dedication to Robert Schumann and his artistry made the evening truly special. The next all-Schumann concert, featuring trios, is scheduled for December 13—we eagerly await another extraordinary performance!

by Walter Aparicio  for New York Concert Review; New York, NY