Schumann’s Piano Concerto has undergone something of a recording and live performance eclipse in recent years. It was once known as a “woman’s” concerto, presumably because of Clara’s advocacy, however it still runs rings around the vast majority of other Romantic piano concertos. 

The work has never been a vehicle for bravura and one hurdle has always been the lack of shameless virtuosity in the soloist’s part. Jan Lisiecki’s rendition of the work is obviously “young man’s” Schumann (fair enough as he’s all of 20!) but as impressive as most of it is, much of the first movement lacks the intimate poetic ruminations (Lisiecki himself refers to these in the liner notes) that I enjoy in my favourite version with Annie Fischer (despite Klemperer’s rather bluff, emphatic accompaniment) making them sound almost perfunctory. Also, the Gramophone review refers to the Santa Cecilia orchestra’s oboe as characterful whereas I find it quite the opposite. Lisiecki handles well what can be the tricky transition from the charming Intermezzo (which he does beautifully without sounding either coy or laboured) to the finale. 

The other two substantial works are rareties: Allegro  Appassionata, Op. 92 and Introduction and Allegro, Op. 134, which James Jolly breathlessly informs us is DG’s first recording of it in its 117-year history (as if anyone cares). In the first, the orchestra and soloist are truly on fire and the interplay is impressive, the introductory horn calls gorgeous. Lisiecki seems to endorse the received wisdom that this a late fruit, which demonstrates Schumann’s creative decline. I disagree (to me, the ubiquitous Cello Concerto fills that description) and loved the work, finding that this reading captures the fragility rather than feebleness of his mental state. A pity the length and format of both works inhibits their inclusion in concerts. Recommended with minor reservations.