Tempi in Kreisleriana, Davidsbundler Tanze

[tooreclusive]

There seem as many ways to approach this music as there are bad "good" pianists, among which I happily count myself.

I often feel that listening to recordings of Schumann "spoils" the music for me somewhat, in that a tempo foreign to the "inner pulse" I feel becomes a part of my overall experience.

I'd be curious to know what metronome markings others here might draw from their own inner sense of tempi in these Schumann works - not what metronome markings such-and-such a pianist employs, or what metronome markings Clara Schumann may have employed in her edition.

Specifically, the pieces I'm curious about are:
Kreisleriana I, III, V, VII, VIII
Davidsbundler Tanze - the second-to-last dance, where an acceleration is indicated leading up to the coda. By the time the coda is in full sway, are we to consider a "presto" an apt tempo? Or is a towering, monumental "allegro non troppo", tending towards the slow, in order? What worries me about this page of music is that the final dance depends so much on the tempo of this coda.

Just curious, anyway.

- R.

[pianistimo]

i'd be interested in hearing this question answered too.  really great question!

from reviews, steven isserlis (cellist) has made a transcription of some schumann that is 'heavenly inspired.'  the tempi are perhaps what you mean (more rubato) more germanic and broad at times.  you can type 'listen to steven isserlis play schumann'  to get an idea. that's the excitement of miniatures - probably.  if you did them all at an exact tempi throughout - it would be boring.

also, haven't listened enough yet - but so far i like ruth slenczynska's performance of kreisleriana at www.ivoryclassic.com/releases/71004/audio/01.mp3  or type in her name to listen to.  so far, i really like her command of schumann.

**if you don't have much time - listen to isserlis first!