Daniel Rieppel, a native of Minnesota of Austro-Hungarian descent, performs Mozart’s Fantasy and Sonata in C minor, the Piano Variations of Aaron Copland and Symphonic Etudes by Robert Schumann. Dr. Rieppel performs widely in North and South America and Europe (most recently in Iceland) and has been Professor of Music at Southwest Minnesota State University for over a quarter century. He has international recognition for his research into Schubert’s incomplete sonatas, finishing several that will be the subject of his next recording.
Florian Glemser demonstrates a particular and profound understanding of the Schumann works performed on this album. The exhilaration, the depression, the obsession, the madness, the tenderness, the belligerence, the resignation, but above all the love and the beauty are all there, delicately and thoughtfully interwoven into the fabric of the performance. This is a powerful interpretation full of color and hidden depths which carries the lsitener on a journey of fascinating exploration into the psyche of the tortured composer. This is a recording of rare insight.
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.
Three classics from Grimm's fairy tales musically retold by Berlin composer Mark Scheibe. Narrator Meike Droste and the recorder players of the Boreas Quartet Bremen bring the fairy tale characters to life in vivid language and new verses. The ensemble's entire range of instruments is used: from the tirilating sopranino to the donkey-like contrabass recorder.
In recent years the young Swiss conductor Simon Gaudenz has made a name for himself, particularly as an interpreter of the Classical-era repertoire. A fresh, new approach against the background of historically informed performance practice characterizes his recordings and concerts. During this same time he was associated with the Odense Symphony based on the island of Funen (the birthplace of Hans Christian Andersen and Carl Nielsen!), serving as its principal guest conductor. This orchestra, one of Denmark's premier musical bodies next to the Danish Radio Symphony in Copenhagen, immediately felt that extraordinary things could be realized with this baton-wielding revolutionary. It was agreed that he and the orchestra take on Schumann, the results being this 2CD set of the complete symphonies.
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.
The University of York is very fortunate to own this exquisite 1856 Erard London concert grand piano, lovingly restored by Nigel Scaife and tuned to the Bach-Lehman temperament by Aidan Delacey-Simms. The piano is straight strung allowing greater separation of registers compared to it's more homogenised modern counterpart. The strings are damped from below, rather than above as in a modern piano, a less efficient design that results in pleasing result is a wash of colour and a ring of complex overtones that was surely an aesthetic choice. Pianos were likely not tuned in equal temperament in the mid-19th century and my choice of unequal temperament brings extra resonance to the instrument as well as colour to the music. Daniel Grimwood is best known as a world-leading exponent of 19th century virtuosic piano repertoire. Received with critical acclaim, Grimwood's recordings and performances of the music of Adolph von Henselt ensure his international reputation as a groundbreaking, inspirational musician, making him out as a unique voice amongst his generation of pianists. His recording of Henselt's Complete Etudes garnered "instant classic status" by Gramophone Magazine, which also named it piano release of 2023.
Twilight is the third album of tenor Ian Bostridge and pianist Saskia Giorgini, dedicated to Robert Schumann song cycles, all written in the miraculously productive year of 1840. The album title and cover photography were inspired by the song Zwielicht, which together with Mondnacht from the same Op. 39 cycle is often considered to be the epitome of German nineteenth-century Romanticism. It is also a fitting metaphor for Schumann's troubled soul, constantly oscillating between light and dark, between hope and despair. Shedding a fascinating light on Schumann's dark inner world, the recorded songs are both an expression of his profound love for his wife Clara and of euphoria after having overcome a period of severe mental disturbance. It is hard to think of better ambassadors for this repertoire than Ian Bostridge and Saskia Giorgini, whose acclaimed partnership has made them seasoned champions of the German lied. Ian Bostridge is one of the most celebrated tenors and lied interpreters of his generation. His PENTATONE recording of Schubert's Winterreise (2019) was crowned with the ICMA Vocal Music Award 2020. Bostridge has since released Schwanengesang (2022), The Folly of Desire (2023) as well as Die schone Mullerin (2020) and Respighi Songs (2021), both together with Saskia Giorgini, on the label. Giorgini's Liszt recordings Harmonies poetiques et religieuses (2021) and Consolations (2023), as well as her Debussy recital album Images (2024), have all received extensive praise.
Schumann: Symphonies No 1-4 / Rattle, Berlin PO [2 CDs & 1 Blu-ray Audio]
Berlin Philharmoniker
CD + Blu-Ray
$96.99May 01, 2014
"[M]ightily attractive for the overall quality of the performances…. [The Berlin Philharmonic] play with altogether more heft, a quality born of longstanding tradition and communal spirit. … [T]he playing is always brilliant, with blazing tremolos from the strings, distinctive colorings from the woodwinds and golden orations from the brasses." – James R. Oestreich, The New York Times
With such fresh and invigorating performances this new set conducted by Rattle breathes new life into these Schumann symphonies and is certainly the one to own. [...]
The sound engineers at the Philharmonie are to be congratulated for providing appealing, transparent, well balanced sound with all the instrumental detail wonderfully audible. These are live recordings containing virtually no extraneous noise and I notice that the applause has been removed. As one might expect there has been a lot of time and care lavished on this inaugural release of the Berliner Philharmoniker’s own label. Typical of the work this orchestra undertakes, everything is done with integrity, precision and total empathy for the music. The set is performed with impressive solidity, feeling natural and unmannered with Rattle choosing judicious pacing throughout communicating a spring-like freshness to Schumann’s romantic vision. I can see these Rattle recordings of the Schumann symphonies becoming the benchmark for many years to come such is the excellence of the Berliner Philharmoniker’s performances.
– Michael Cookson, MusicWeb International
I enjoyed these performances greatly. Rattle displays a fine affinity with these scores and though the orchestra members must have played these symphonies many times there’s never the slightest suspicion of routine here: everything sounds fresh and newly discovered – though I hasten to add that there’s never a suspicion of disruptive point-making. In the Behind the Scenes feature one of the orchestra’s first konzertmeisters, Daniel Stabrawa, describes Rattle as one of the few conductors who know what Schumann really means and you sense that the orchestra has relished discovering these scores in performance with him.
This lavish production launches the orchestra’s own label in splendid style and I’m thrilled that I’ve had the chance to experience these fine performances.
– John Quinn, MusicWeb International
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For Simon Rattle, Robert Schumann is "the echt Romantic." And in fact, the exuberance of the period, its passion, and its melancholy can be heard with unique intensity in Schumann's music to this day. For the Berliner Philharmoniker, Schumann's symphonies have always been part of their core repertoire. The 1953 Wilhelm Furtwängler recording in particular has attained cult status. And so it only stands to reason that the Berliner Philharmoniker should launch their Berliner Philharmoniker Recordings label with a cycle of the four Schumann symphonies.
The Schumann symphonies have accompanied the orchestra throughout 2013 – in Berlin and on tour in Europe and Asia. The Berlin Tagesspiegel wrote of a "defining moment," while the Frankfurter Allgemeine Zeitung praised the "truly sensational quality." Another special feature of this recording from the Philharmonie is the decision to use the early version of the Fourth Symphony from 1841, whose appeal for Simon Rattle lies in its extra "lightness, grace, and beauty" compared to the established later version. The presentation of the product, its packaging, and the special features, go far beyond what standard CDs offer.
The linen-bound CD/Blu-ray edition includes the Schumann cycle in different formats. In addition to the traditional audio CDs, there is also a Blu-ray Disc which enables music lovers to listen to the recording in audiophile studio quality of 96kHz/24bit or as HD video. If you are looking for the recording in even higher resolution, there is an accompanying code which allows you to download a version online in up to 192kHz/24bit. An additional code grants 7 days' access to the Berliner Philharmoniker's video platform, the Digital Concert Hall. The release also includes bonus material such as behind-the-scenes videos and a comprehensive booklet with articles about the composer, his symphonies, and the Schumann tradition of the Berliner Philharmoniker.
After recording the sonatas for violin and piano by Ludwig van Beethoven, a triptych that won numerous awards, including the Juno for Classical Album of the Year - Small Ensemble (2022) and an ADISQ award, Andrew Wan and Charles Richard-Hamelin continue their fruitful collaboration by performing the complete sonatas for violin and piano by Robert Schumann (1810-1856). A perfect work to highlight the complicity that has developed between the concertmaster of the Montreal Symphony Orchestra and the pianist who won the silver medal at the 2015 Frédéric Chopin International Piano Competition.
The ongoing Schubert + series, produced by pianist Can Çakmur, has revealed an exceptional Schubertian. Now in it's sixth instalment, the series juxtaposes Schubert's works with those of composers he inspired. This latest program shines a spotlight on Robert Schumann. Schumann held Schubert in the highest esteem and was one of the first to recognise him as one of the most visionary composers to have ever lived, and this alone would have justified this coupling. However, Çakmur delves deeper, using the program as a springboard for a philosophical discussion about naturalism within German Romanticism. The program features Schubert's brilliant Sonata in D major, D. 850, composed in 1825 in the spa town of Bad Gastein. It's composition amidst the Alpine scenery likely sparked his imagination, echoing the themes of millers, hunters, forests, and mountains prevalent in his songs. Robert Schumann's Waldszenen (Forest Scenes) continues this thread of inspiration. In these nine miniatures, Schumann returns to the happy and simple lyricism reminiscent of early works like Kinderszenen. The program concludes with Schumann's Three Phantasiestücke, Op. 111, included, according to Çakmur, for the uncanny similarity between it's second piece and the slow movement of Schubert's Sonata. This program promises a compelling journey into the heart of German Romanticism, guided by Can Çakmur through the works of two of it's most pivotal figures.
Robert Schumann's piano music, which Gerhard Oppitz now presents for the third time in a specific configuration of works, displays a special characteristic in contrast to the piano writing of the major 19th-century Romantic piano composers Alkan, Chopin and Liszt. The attempt to categorize his works either as contributions to the Classical models of sonata and variation, or to the Romantic genres of Etude, Ballade, Scherzo and a wealth of dance and character pieces, proved unsatisfactory; that remains the case even though Schumann himself was a regular contributor to the two forms handed down from the Classical era. Schumann himself, then, was engaged in the creative questioning of hitherto valid compositional and musical ideals.
The 'Haunted Spot' is one of the most mysterious and worrying pieces of the Forest Scenes op. 82 and seems somewhat unusual as the opening of a Schumann CD. And yet this miniature takes US straight into the middle of Koroliov's Schumann idea, which radically rejects all facile virtuosity and any superficial flow. Koroliov digs deep into the Kreisleriana and is obsessed with detail in his search for rough patches, resistance and the unexpected. The fact that he never loses sight of the greater picture is one of the secrets of this truly great pianist. The Scenes from Childhood sound wonderfully simple, just like the dreamy recollection of an aging poet. After this CD we would like to go back to Schumannn's favourite poet Jean Paul. (Partituren)
What does it mean for Schumann's Kreisleriana to be Romantic? Is it the violent contrasts, the mercurial shifts in mood, the fragmentary architecture, the raw and unfiltered expression? Is it the breathtaking lyricism? Or is it the spectre of the tormented kapellmeister Kreisler haunting this work that dissolves the boundaries between music, literature, and psychological portraiture? Acclaimed virtuoso Paolo Giacometti brings both poetry and psychoanalysis to Kreisleriana and Kinderszenen, performing them on a resplendent 1838 E´rard born in the very year these works first saw the light.
Second and last instalment in Jan de Vriend and Stavanger Symphony Orchestra complete survey of Robert Schumann's symphonies. Such accomplished, high-class music-making makes the imminent follow-up with the Rhenish and Fourth Symphony en enticing prospect. Gramophone - UK (on CC 72958 - Symphonies nos. 1 & 2). de Vriend strives for a balance between a magnificent orchestral sound and a transparent polyphony that also seeks to illuminate the complex inner life of Schumann's orchestral sound with brisk tempi. Rondo - DE (on CC 72958 - Symphonies nos. 1 & 2). Swagger and elegance. BBC Record Review (on CC 72958 - Symphonies nos. 1 & 2)
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