This recording brings together Florian Boesch, one of today’s foremost Lieder interpreters, and Malcolm Martineau, who is widely recognized as one of the leading accompanists of his generation. With a partnership honed over many concerts and several recordings together, including a Grammy-nominated Die schöne Mullerin, the pair turn their attention to two of the greatest song cycles of the nineteenth century. The recording opens with Schumann’s Op. 39, Liederkreis, settings of Joseph von Eichendorff’s poems, and finishes with Mahler’s Lieder eines fahrenden Gesellen, written around forty years later. The songs selected all tell, in varying hues, of the Romantic individual’s sense of alienation from others and of transcendence, or the longing for it. An expressive and accomplished storyteller Boesch’s perceptive phrasing and exquisite range of colours is well matched by Martineau’s virtuosic and perfectly synchronized accompaniment.
The Complete Brunswick & Electrola solo 78-rpm recordings
APR
CD
$32.99Jun 07, 2019
German pianist Elly Ney (1882-1968) came to be regarded as one of the great Beethoven interpreters of the 20th century and her prewar recording of the Op 111 sonata must still be considered one of the very finest. That recording, and all the other solo and concerto recordings she made for Electrola before the war are included here. Particularly noteworthy are the three landmark concerto recordings, the Mozart and Beethoven vivacious and stylish, the Strauss revealing just what a virtuoso Ney could be. Though she specialized in Austro-German repertoire, another side to her art is shown in her early, almost unknown, American Brunswick acoustic recordings, reissued in this set for the first time. Here the repertoire choice is broader and lighter and there is even a stunningly articulated Debussy 'Feux d'artifice' - the work's first recording.
One of the most versatile and compelling musicians of the modern day, pianist and conductor Vladimir Feltsman boasts a vast repertoire ranging from the Baroque era to contemporary compositions. Feltsman regularly performs as a guest soloist with the best symphonies in the US and abroad, and has garnered acclaim at the most prestigious music festivals across the globe. Feltsman has recorded extensively during his career, including albumsof works by Bach, Beethoven, Schubert, Chopin, Liszt, and more. This three disc set features works by virtuosic piano composer Robert Schumann. This release follows Feltsman’s well-received “Album for the Young,” also featuring works by Schumann.
Schumann.: Lied Edition, Vol. 5: Frauenliebe Und -Leben, Op.
Naxos
CD
$19.99Oct 28, 2008
This fifth disc in the Naxos series of the complete Schumann Lieder features one of the key works of the entire 19th century song repertoire, Frauenliebe und -leben. Written during the summer of 1840 at a time when Schumann and his wife-to-be Clara were fighting in court over the right to marry.
A revolution in art and literature swept through Europe and by the early 1800s Romanticism dominated the musical landscape. Such figures as Beethoven, Mendelssohn, and Brahms exemplified the ideals yet maintained highly individual approaches. Now, our finest historically-informed musicians and scholars present this incomparable repertoire in a series destined by become an essential part of every serious music lover’s collection. Robert Schumann, the “herald of a new poetic age”, in the words of his biographer, John Daverio, carved out a unique position for himself in the world of German Romanticism, especially in the creation of a new genre of solo piano music, which consisted of a cycle of miniatures, often provided with evocatively poetic titles. The present recording features Schumann’s three-movement Fantasie in C major, Op. 17 and the playfully mysterious and kaleidoscopic Carnaval, Op. 9, a series of miniature character portraits with a wide range of moods and textures. Chi-Chen Wu performs these works on a copy of a 19thcentury Viennese fortepiano by Rodney Regier.
The last of Schumann’s Symphonies to be composed, Symphony No 3 ‘Rhenish’ was most likely inspired by a cruise taken by the composer and his wife down the river Rhine. Alternating between austere splendour, great rhythmic suppleness and soaring lines, the work is an aural depiction of rural life by the river and the majestic cathedral in Cologne, and one that dares to reflect tensions between Classical form and Romantic innovation. So too does Symphony No 4, cast in four seamless movements that show Schumann’s masterly command of interrelated material and of symphonic unity.
Robert Schumann's Studien and Konzert-Eteden transform Paganini's violin Caprices into stunningly virtuoso pieces for piano. Containing the hidden 'voice' of his beloved Clara the Humoreske Op. 20 is filled with contrasts Schumann expressed as composing and writing and laughing and crying all at the same time. Ukrainian pianist Mariya Kim has gained global recognition through prizes including the Horowitz Paderewski and China Shenzhen International Piano Competitions and the Seoul and Jose Iturbi International Music Competitions. Her achievements have also brought her a Yamaha Foundation Award.
Peter Damm, who is one of the 20th century’s leading horn players, has built up an impressive discography in the course of the last three decades. These naturally focus upon his instrument: the horn. The present Edition brings together many of his recordings for the Eterna label. It illustrates the history of horn music through a large and varied repertoire such as is only rarely to be encountered. From chamber music to the great horn concertos, from the music of the 17th century to twentieth-century works, the spectrum is immense. Peter Damm was born in Meiningen (Thuringia) in 1937. After learning the horn at the College of Music in Weimar he began his artistic career in 1957 as solo hornist with the Gera municipal orchestra. In 1959, Damm was appointed solo horn with the Gewandhaus Orchestra in Leipzig, which at that time was making numerous Gramophone recordings. Damm’s first solo recording was in 1961 with the Gewandhaus horn quartet, playing Robert Schumann’s Konzertstück op. 86 for four horns under the baton of Franz Konwitschny; he first appeared on a chamber-music recording in 1964. In 1969 Damm was appointed solo hornist with the Staatskapelle Dresden. His cantabile style of playing placed Damm firmly in the Dresden tradition and became the hallmark of the Dresden wind section for almost forty years. During those years in Dresden Peter Damm was involved in more than 100 studio recordings with the Sächsische Staatskapelle. Famous international conductors such as Herbert von Karajan, Herbert Blomstedt, Bernard Haitink and Giuseppe Sinopoli were fascinated by Damm’s horn playing at first hearing. Peter Damm would always champion new music and the rediscovery of forgotten works from all eras in his work as a soloist on record releases. This applied in particular to the works of the Dresden court composers. Peter Damm celebrates his 80th Birthday on July 27th, 2017.
Robert Schumann: Complete Sonatas For Violin And Piano
Musica Omnia
CD
$14.99Jun 09, 2015
- Robert Schumann's three sonatas for violin and piano embody the 19th c. German Romantic perspective. - Entering Schumann's unique sound world, violinist Nicholas DiEugenio and pianist Chi-Chen Wu draw further inspiration from the builder Rodney Regier's unique creation of a fortepiano that embodies the ideal characteristics of instruments by Vienna's greatest early 19th c. builders, Conrad Graf and Ignaz Bösendorfer. - The release of this disc ushers in the first such recording to feature performances of all three sonatas on a fortepiano.
Schumann: Cello Concerto, Etc / Schwabe, Vogt, Royal Northern Sinfonia
Naxos
CD
$19.99May 11, 2018
Schumann’s love of the cello, which developed when he learned the instrument as a young man, is expressed most fully in his ‘Cello Concerto in A minor.’ It is a work marked by freshness of spirit and singing lyricism and stands as a rich example of mid-19th-century Romanticism. The series of characterful small pieces that include ‘Funf Stucke im Volkston’ reveals Schumann’s joy in the cello’s unique lyrical capabilities. The ‘Drei Romanzen’ and the ‘Intermezzo’ from the ‘F-A-E Sonata’ are presented here in new arrangements for cello and piano by Gabriel Schwabe. Gabriel Schwabe has established himself among the leading cellists of his generation. He is a laureate of numerous national and international competitions, including the Grand Prix Emanuel Feuermann and the Concours Rostropovich in Paris. As a soloist he has worked with orchestras such as the Philharmonia Orchestra, the NDR Radiophilharmonie, the Berlin Radio Symphony Orchestra, the Deutsches Symphonie-Orchester Berlin, the Malmo and Norrkoping Symphony Orchestras and the Royal Northern Sinfonia. He plays a rare Italian instrument made in Brescia (c. 1600).
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REVIEW:
With just the necessary amount of vibrato, Gabriel Schwabe's cello, dating from around 1600, sings eloquently for him. The score of the concerto’s central section contains much sadness; without any undue haste, he generates an appropriate sense of triumphant brilliance as the work ends.
Schwabe and pianist Nicholas Rimmer give a particularly fast and vibrant account of the Allegro, in the Adagio and Allegro. It is a similarly outgoing performance of the Fantasiestucke that acts as a foil to the moments of beauty in the Three Romances; the five Volkston vividly characterised and contrasted, while the arrangement of the Intermezzo has simply taken the solo part down by an octave.
The catalogue is certainly not short of recordings of the Concerto, but this coupling is unusual and most enjoyable.
Robert Schumann is in many ways typical of the age in which he lived, combining in his music a number of the principal characteristics of Romanticism, as he did in his life. Schumann’s literary sensibility was exceptionally receptive to the ideas of fantasy and fairy tale. His poetic Hausmusik-music for domestic consumption- represents a motion from the outer to the inner world. This recording explores these affiliations in a unique way as most of the performances are the first to have been recorded on period instruments. The clarinet is a replica of the early 19th century type Schumann knew, all three string instruments use gut strings while the piano is an original 1843 Pleyel, and the music’s intimacy and volatility are significantly intensified through their use.
Schumann: Sonatas For Violin And Piano / Koh, Uchida
Cedille
CD
$19.99Jan 01, 2006
My colleague Victor Carr Jr. succinctly described what Schumann's three violin sonatas sound like in his review of the splendid Ara Malikian/Serouj Kradjian recording on Hänssler Classics. He rightly noted that these works are infrequently recorded as a cycle, and that alone works to the advantage of this release from violinist Jennifer Koh and her trusty piano partner Reiko Uchida.
Fortunately, their sensitive musicianship and technical aplomb warrant serious consideration. They emphasize intimacy and clarity, favoring tempos that are neither too fast nor too slow for what the music expresses. For example, they toss the A minor sonata finale's toccata-like motives back and forth in a relaxed, lilting manner that generates its own momentum--and needless to say, totally differs from the Kremer/Argerich "shock and awe" approach. The big D minor sonata's largely pizzicato slow movement stands out for the uniform precision with which the artists balance chords in similar registers, although the outer movements' symphonic dimensions benefit more from the slightly faster tempos, wider dynamic compass, and kinetic drive that keep Isabelle Faust and Slike Avenhaus (CPO) at the top of my reference list.
Don't force me to choose between Cedille, Hänssler, and CPO in the posthumous A minor, but at least let me acknowledge the additional suppleness and flexibility Uchida brings to the difficult piano part. I also should mention that Koh and Uchida dedicate their fine work on this disc to the memory of pianist Edward Aldwell, a moving and appropriate gesture.
Schumann at Pier2 is not a usual concert film; it shows the 4 Symphonies of Schumann from a new perspective. Stars of the film are the conductor Paavo Jarvi and the Deutsche Kammerphilharmonie Bremen and it's filmed at Pier2 a former dockyard in the harbor of Bremen.
