Cortot ends his last recording in perfect form. His playing, as ever, nearly epitomizes romantic abandon, and Landon Ronald leads the London Symphony Orchestra in near perfect accompaniment. Even though this 1934 recording is ancient in sound and practice, it seems to perfectly embody many of the traits that define Schumann. Indeed, what pianist other than Cortot could ever conjure the almost dreamy, ecstatic romanticism of that most romantic of romantic composers? But perhaps I should backtrack a bit. This third recording of this work by this pianist-conductor tandem actually opens in less than perfect fashion