SCHUMANN: FRAUENLIEBE UND LEBE

Classical Music

Classical Music

"Urgently eloquent." -- Gramophone [4/1987]

"Concentrated expressive intensity." -- Gramophone [11/1990]

"The Wanderer Fantasy is one of Schubert's most striking architectural achievements, and Perahia's intellectually rewarding account of it offers a vivid portrayal of the music's constantly evolving thematic structure." -- Gramophone [10/1995]

THE ROYAL EDITION - SCHUMANN:

From Perahia and Abbado, the Piano Concerto comes across with refreshing eagerness, as if Schumann could scarcely pause for breath in an uprush of inspiration.

Whereas Perahia's 1989 release of Schumann's Piano Concerto (an excitingly vivid live recording with Sir Colin Davis) had Grieg's as bedfellow, here he follows Dalberto's excellent example (Denon, 6/94 — nla) in rescuing Schumann's two later works for piano and orchestra, of which the sorely neglected last in D minor was part of his birthday present for Clara barely six months before his breakdown. Though less immediately earcatching than the Mendelssohnian G major work (where Perahia's exhilarating homecoming silences often heard accusations of protraction), Schumann's farewell to the genre — as played here — strikes me as by far the more intense and laden of the two, with eventual major-key victory won after deeper internal struggle. Not for nothing had Schumann just completed his long-postponed overture to his Scenes from Faust in the same dramatic key of D minor.

With a considerable number of versions already available, the Piano Concerto needs no special pleading. From Perahia and Abbado it comes across with refreshing eagerness, as if Schumann could scarcely pause for breath in an uprush of inspiration. But unflagging strength of direction by no means excludes the personal. The first movement, in particular, brings intimately revealing nuances of phrasing from Perahia, with a finely shaped, richly expressive cadenza before a delectably light-fingered, effervescent coda. Free of coy cosseting the Andante has a natural, gracious flow. However, I would have liked a more expansive melodic glow in the middle section, not least when the violins soar into the upper reaches (a masterstroke of orchestration) near its end. Piquantly crunched acciaccaturas at the start inject the finale with inexhaustible rhythmic buoyancy. Recorded in Berlin's Philharmonie the sound quality is vibrantly full and forward.

-- Joan Chissell, Gramophone [1/1998]

SCHUMANN: WORKS FOR VIOLIN/VIO

Schumann’s treatment of Goethe is a curiously uneven work, composed at various stages in the last decade of his life. Parts 1 and 2 consist of dramatic scenes, which lie somewhere between opera and oratorio, rather as in Berlioz’s Damnation of Faust; but Schumann’s third part takes the music on to an altogether higher plane, setting the mystical final scene from Goethe’s poem (the same text Mahler used in his Eighth Symphony). Recordings and performances of the complete work are rare, partly because of its length (nearly two hours) and the need for multiple soloists (ten in this performance); so this exceptionally fine new Sony set, recorded ‘live’ at Berlin concerts last year, is very welcome indeed. Bryn Terfel is an ideally ardent, troubled Faust, and sings a large amount of music with consummate authority. Mattila makes us feel for Gretchen, and the ensemble numbers are led by Barbara Bonney’s silvery high soprano. The choral singing (Swedish choirs prepared by the legendary Eric Ericson) is simply outstanding, as are the Tölz Boys Choir’s lusty contributions. Most importantly of all, Claudio Abbado conducts with flair and also with great sensitivity, and the members of the orchestra respond as if they believe in every note. If this set doesn’t win an award, there’s no justice in the world.

Performance: 5 (out of 5), Sound: 5 (out of 5)

-- BBC Music Magazine

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

This is terrific Schumann, the Fourth Symphony especially, which remains one of the most thrilling performances ever. James Levine whips up a huge amount of excitement in the work's outer movements, never once letting the energy flag. In the equally fine Second Symphony a touch more presence from woodwinds and timpani would have capped the otherwise glorious finale even more splendidly, but otherwise there's absolutely nothing to quibble about--particularly when the Adagio is one of the most cogently paced and eloquently sung on disc. The Philadelphians play gorgeously, especially the strings, which in the late 1970s still retained their famous Ormandy sound, only here wedded to razor sharp rhythms and really tight ensemble playing.

-- David Hurwitz, ClassicsToday.com
from review of earlier reissue, RCA 55305

Includes song(s) by Miguel de Fuenllana, Hugo Wolf, Robert Schumann, Maurice Ravel, Enrique Granados, Sir William Walton, Roberto Gerhard, Joaquín Rodrigo, Fernando J. Obradors, various composers. Soloists: Jill Gomez, John Constable.

SCHUMANN GREAT HITS

Schumann, C.: Vocal Music

The Eiger Trio was founded in 2020 by Filipa Nunes, Kateryna Tereshchenko and Maria Clement after many years of playing together at the Zurich Opera House. Their diverse backgrounds (Portugal, Ukraine and Russia) allow them to combine their experience and temperament to achieve this enriched musical language.

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.

FISCHER-DIESKAU: KERNER LIEDER