Schumann suffered from mental illness, and pianists have often taken their cue from this by overemphasising the sudden mood swings and switches of perspective in his music. Claudio Arrau takes a more holistic approach, focusing on the fine balances between poise and impulsiveness Schumann achieved, and on the beauty of his melodic invention. This pays rich dividends in Arrau’s 1966 recording of Carnaval, a sequence of 20 short movements lasting half an hour. It can seem disjointed, but Arrau knits it together seamlessly. “Arlequin” has the playful lilt it needs, while “Chopin” has exactly the right mix of soulfulness and elegance. Arrau’s directness is also a major asset in Kinderszenen, where the famous “Träumerei” is touchingly unaffected, as is “Vogel als Prophet” in the lesser-known cycle Waldszenen. This is a feast of old-school piano playing that’s satisfyingly rich in musical wisdom.