Page 85 - FULL BOOK Isata Kanneh-Mason Childhood Tales
P. 85

27 May 2023

               Pale Childhood Tales

                     Childhood Tales; Wolfgang Amadeus Mozart: Variations K. 265; Ernst von
               Dohnanyi: Variations on a Children's Song op. 25 for piano and orchestra; Claude
               Debussy: Children's Corner; Robert Schumann: Kinderszenen op. 15; Isata Kanneh-
               Mason, Royal Liverpool Philharmonic Orchestra; 1 CD Decca 4854180 recording 2022,
               release 26.5.2023 (67') - Review by Remy Franck
















               27-year-old Isata Kanneh-Mason turns to a program with references to childhood. She shows
               herself to be a serious and intelligent pianist who is in control of the music. Unfortunately, she
               forgets to let go of this music and breathe life into what has been carefully prepared with
               spontaneity and the inspiration of the moment.
               Compared to Bavouzet's Debussy, for example, it remains all too well-behaved, and anyone who
               compares Andras Schiff's recordings of the Dohnanyi Variations or Mozart's Ah vous dirai-je
               maman with Kanneh-Mason's playing will see it as somewhat sterile. And that's exactly how the
               Briton goes down when you compare her childhood scenes by Schumann with those of other
               pianists, be they Barenboim, Hewitt or Argerich.
               Isata Kanneh-Mason entrenches herself everywhere behind a finely polished, balanced and by no
               means soulful playing, which sounds too controlled, too pale and not personal enough to me in all
               pieces.
               The 27-year-old Isata Kanneh-Mason turns to a program with references to childhood.
               In it she shows herself as a serious and intelligent pianist who is in control of the music.
               Unfortunately, she forgets to let this music of the leash and breathe life, spontaneity and
               the inspiration of the moment into what has been carefully prepared with t.
               Compared to Bavouzet’s Debussy, for example, she remains all too well-behaved, and
               anyone who compares Andras Schiff’s recording of the Dohnanyi Variations or Mozart’s
               Ah vous dirai-je maman with Kanneh-Mason’s playing will find it somewhat sterile. And
               that’s exactly how the Brit is losing credit when her Kinderszenen by Schumann are
               compared with those of other pianists, be they Barenboim, Hewitt or Argerich.
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