Christopher Glynn continues his Lieder in English series by joining three of today’s foremost singers to perform Robert Schumann’s best-loved song cycles in new English versions by Jeremy Sams – a new way to encounter and enjoy some of the most romantic and atmospheric songs ever composed. ‘Schumann is one of music’s great storytellers – and never more so than in the song cycles of 1840. These vivid new translations by Jeremy Sams recreate the immediacy and intimacy of his storytelling for modern English-speaking listeners, offering a new perspective on these famous songs of loneliness and love, joy and sorrow, marriage and separation.’ – Christopher Glynn

"A choice Robert Schumann song recital featuring baritone Paul Armin Edelmann and pianist Charles Spencer.
Mr. Edelmann maintains an international operatic and recital stage presence, winning critical acclaim worldwide.
Charles Spencer, a much sought-after accompanist, is Professor of Lied Interpretation for singers and pianists at the Hochschule für Musik in Frankfurt.
""Paul Armin Edelmann is the perfect song-poet...a wonderfully balanced and seamless voice... - FonoForum"

Schaumann presents Vol.2 of most interesting compositions from the environment of the famous composer Schumann and some of his contemporaries. Included herein are world premier recordings of works by Kirchner and Reinicke.

Classical Music

Classical Music

For the second volume in the Schumann Collection launched with his brother Pierre, Theo Fouchenneret has surrounded himself with a fine team of chamber musicians to immortalise the series of works for wind instruments and piano from 1849. Like a gallery of legendary characters, oboe, horn and clarinet follow one another, giving way to the astonishing Andante and Variations for two pianos, two cellos and horn, in which the sketches follow one another with the intensity of a tale as thrilling as it is mysterious…

Classical Music

"Daniel Müller-Schott is a truly charismatic player, technically brilliant and with a penetrating, highly expressive tone. He’s well partnered by Robert Kulek and the duo is recorded with vivid realism, so this Schumann has many advantages. The single original work, the Fünf Stücke im Volkston, is supplemented, not just by the Opp 70, 73, and 94 pieces in which the cello is a familiar alternative to the original scoring for wind, but with three effective arrangements by Müller-Schott himself.
Several of the performances are really fine: a heart-on-sleeve account of Op 70’s Adagio, leading to some splendidly incisive playing in the following Allegro, a performance of the Volkston pieces that grabs every opportunity to present quirky individuality, alternating with a mood of intense meditation in the second piece. And the Fantasiestücke have a lyrical fullness that speaks directly to the listener."
- Duncan Druce, The GRAMOPHONE

Classical Music

Classical Music

When listening to this new CD it is difficult to comprehend why the music world had a negative opinion of Robert Schumann’s works for violin and orchestra for so long. Baiba Skride now offers a performer’s perspective on Schumann’s violin oeuvre by recording not just the Violin Concerto in D Minor but also the Phantasy in C Major op. 131 and the Violin Concerto in A Minor op. 129. The last of these is an arrangement for violin of Schumann’s Cello Concerto that the composer made for Joachim.

Immerse yourself in the enchanting world of Tiffany Poon, “classical pianist of the new generation”, who makes her Pentatone debut with her album Diaries: Schumann. Through her vivid interpretation of Robert Schumann’s masterpieces, Tiffany invites us on a journey through her musical diary.

With a selection ranging from the introspective Kinderszenen to the passionate Davidsbündlertänze, she creates a tapestry that reflects the different aspects of her life and her personal growth. With this album Tiffany aims to invite the listeners to connect with the different aspects of ourselves, be vulnerable and imaginative like Schumann’s Eusebius and Florestan. This album encourages daydreaming in open spaces, “feeling all the feels”, without any judgement. Experience the brilliance of this rising star as she shares her innermost thoughts and musical prowess through the captivating melodies of Schumann.

Born in Hong Kong, Tiffany Poon has appeared with orchestras and in recital throughout the United States, Canada, Europe, Australia and China since she was first accepted to the Juilliard pre-college program at the age of eight. She makes her Pentatone debut with Diaries.

His 15th album with Signum Classics, the Welsh pianist, Llŷr Williams, brings a profound musical intelligence to his work as soloist, accompanist and chamber musician. His new album of Robert Schumann works explores a selection of works that span a substantial part of Schumann’s life, including Papillons Op. 2 (written while he studied law at Leipzig University) all the way up to Faschingsschwank aus Wien published in 1841. Llŷr Williams’ long and successful collaboration with Signum Records includes the 8-disc box-set ‘A Schubert Journey’ (2020), the 12-volume ‘Beethoven Unbound’ (2018), a ‘Wagner Without Words’ double album (2014) and highlights from Liszt’s ‘Années de pèlerinage‘ (2012).

The Antwerp Symphony Orchestra and Philippe Herreweghe have enjoyed a close relationship since 1997, and the Ghent conductor regularly conducts and records with the Flanders orchestra. After the Second and Fourth Symphonies (LPH032), they are continuing their exploration of Schumann's symphonies: "The symphony has given me many hours of joy. I often give thanks to the beneficent spirit that enabled me to complete such an important work so easily and in such a short time" says the tormented composer. He wrote his first symphony, "Spring", in just four days and orchestrated it in three weeks. The third, known as the "Rhenish", was inspired by a day Schumann spent with his wife Clara in the Rhineland.

In the second series of her recordings of Robert Schumann's piano music, Jimin Oh-Havenith juxtaposes the Kreisleriana op. 16 from 1838 and the Humoreske op. 20, composed one year later, with two key works of the famous "piano decade" 1830-1840, in which Schumann pays homage to his two most important literary models, E.T.A. Hoffmann and Jean Paul. While in the Kreisleriana, following in the footsteps of Hoffmann's alter ego, the ingeniously eccentric Kapellmeister Kreisler, he fuses suite and character piece into a fantastic pictorial arch, the Humoreske is laid out like an essay in tones. In it, Schumann congenially implemented Jean Paul's definition of humour as bridging the opposites of "Gemüt" (emotion) and "Witz" (wit) that shape and tear people apart. For every interpreter, therefore, it is a task as challenging as it is fulfilling to shape Schumann's language, which is so rich in contrast but nevertheless held together by subtle thematic and contrapuntal links, into a poetic cosmos.