SCHUMANN: HUMORESKE, FANTASIES

Reviewing previous issues of Schumann's piano music played by Constantino Catena, critics in Fanfare have noted the Italian pianist's affinity for the composer's unique sound world, it's peculiar subtleties and idiosyncrasies. 'Catena's playing is a precise balance of fluidity and markedness' (Davidsbundlertanze); 'he plays with wonderful tone and fine sensibility' (Fantaisie). For this new recording, made on a Yamaha CFX instrument in May 2024, he turns to a pair of cycles comparatively neglected within Schumann's pianistic output. While his fellow Italian Dino Ciani made a famous recording of the Novelettes Op.21 back in the 60s, the sequence of eight works has never attracted the attention of works like the Fantaisie or Kreisleriana, yet they embody the composer's inspiration in full spate. Schumann wrote to Clara early in 1838: 'In the last three weeks I have composed an extraordinary amount of music: hilarious things, Egmont stories, family scenes with fathers, a wedding.' True to their title, each Novellette tells a story in miniature, abundant in the poetic division between the heroic Florestan and dreamy Eusebius by which Schumann crystallised his own creative temperament. They also make a satisfyingly progressive sequence which culminates in the longest and most complex work in the cycle, alternately dancing and surging towards a grand apotheosis. By complement, the quartet of Nachtstucke Op.23 is a more introspective cycle, marked by a spirit of obsession which finds expression in piano writing of greater severity, less floridity and exuberance. The cycle was probably conceived in the wake of his brother Eduard's death; No.1 describes a cortege passing and receding from view. On Brilliant Classics, Catena has made premiere recordings of the piano music by Ermanno Wolf-Ferrari, rediscovered at the Staatsbibliothek in Munich and edited by him, for Edizioni Curci, as well as all the chamber music with piano by the same composer. Also for Brilliant Classics, he recorded Franco Margola's Double Concerto for violin, piano and orchestra. 'Catena's technical facility is astounding. The overall range of dynamics, colour and expression is excellent, and you can hear that he is always in control of the direction of the piece. He is a formidable artist' (Philip Borg-Wheeler, Fanfare). - The Novelletten, Op.21, composed by Robert Schumann in 1838, is a set of eight character pieces for solo piano. Schumann (1810-1856) told his friend and teacher Heinrich Dorn that this music could only be understood with reference to the figure of Clara Wieck, and to the battles he fought on behalf of their love for each other. These works reflect Schumann's literary and imaginative tendencies, as the title suggests "little novellas" or short stories, aligning music with the narrative qualities of literature. Written during a highly creative period in his life, these pieces are imbued with contrasting moods and themes, often shifting between passionate, lyrical, and whimsical styles. - Each piece in the set has it's own distinct character while sharing thematic connections. The Novelletten showcase Schumann's mastery of piano writing, featuring intricate textures, rhythmic vitality, and expressive melodies. There is an interplay of contrasting sections within each piece, often marked by sudden changes in tempo and dynamics, which mirrors Schumann's fascination with duality and juxtaposition, possibly inspired by his alter egos Florestan and Eusebius - representing his fiery and introspective sides. - Also included in the recording are the Nachtstucke Op.23, which Schumann composed in March 1839. They are based on literary works by E.T.A. Hoffmann. - Costantino Catena studied piano under the guidance of Luigi D'Ascoli and then went on to specialize with Konstantin Bogino, Boris Bechterev, Bruno Mezzena and Aldo Ciccolini. Currently a piano teacher at the Salerno Conservatory of Music, he also holds degrees in Philosophy and Psychology. Praise for his previous CDs: 'A pianist in whom the art of singing on the keyboard shines above all with phrasing inventions that demonstrate his exquisite musical intelligence' (Carlo Vitali, Amadeus), 'Catena's technical facility is astounding. The overall range of dynamics, color and expression is excellent, and you can hear that he is always in control of the direction of the piece. He is a formidable artist' (Philip Borg-Wheeler, Fanfare Magazine).

PIANO DREAMS - Most Popular Melodies (The)

Joining forces again for their second album on Signum Classics, duo JULIAN BLISS And JAMES BAILLIEU perform works by composer giants Clara & Robert Schumann. Many of the tracks on this recording are new arrangements by Bliss himself, and world premiere record- ings.

The term 'living legend' is genuinely apt to Martha Argerich, whose dazzling amalgam of virtuosity, insight, eclecticism, generosity and mystery makes her a pianist of unrivalled fascination. Argentinian-born, Viennese-trained, and winner of the 1965 Chopin Competition, she became a sometimes elusive figure whose every appearance and recording aroused eager anticipation. This collection presents Argerich in solo works, concertos and chamber collaborations.

SCHUMANN: LIEDER VOL 1 - DICHT

Schumann: Carnaval, Op. 9 - Piano Sonata No. 1

SCHUMANN: DICHTERLIEBE, PIANO

Rubinstein Collection, Vol. 51: All Schumann: Carnaval - Fan

Rubinstein Collection, Vol. 19: Mozart: Piano Concerto No. 2

Rubinstein Collection, Vol. 52: Schumann: Kreisleriana - Fa

SCHUMANN: CARNAVAL OP 9, WALDS

RACHMANINOV, BRAHMS: CELLO SON

CHICAGO SYMPHONY ORCHESTRA- TH

The special interest here is the ''world premiere recording'' of Schumann's first Piano Quartet in C minor, completed in March, 1829, when he was still only 18. Though his Leipzig piano teacher, Friedrich Wieck, and other discerning music-loving friends found much in the work to praise after a domestic performance by Schumann and some fellow-students, he himself lost faith in it and the score remained unpublished until the Schumann scholar, Wolfgang Boetticher, prepared a performing edition in 1979. The gem of the four movements is the nimble Minuetto, with a trio (its leading theme reappears in the fourth of his Op. 4 Intermezzos for solo piano) subsequently picked out by him as the moment when he first recognized himself as a ''romantic... departing from the former musical style''. The tenderly spun Andante is winning too, and even though the Beethoven-cum-Schubert-inspired faster flanking movements (the last dominated by an obsessively reiterated dotted rhythm) need—and I think in this performance receive—some pruning, both have an irresistible youthful elan. Andre Previn and his three colleagues cannot be over-praised for coming to the Quartet's rescue with such immediacy and warmth of sympathy.

Though never enjoying the popularity of the Piano Quintet, the E flat Piano Quartet, written some 13 years after the C minor work, has rarely lacked dedicated protagonists. These players hold their own with them all, especially the very lively pianist with his keen ear for textural clarity.

-- Joan Chissell, Gramophone [5/1993]