Robert Schumann
310 products
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Between Eusebius and Florestan
$24.99CDGramola Records
Oct 03, 2025GRAM99357 -
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Robert Schumann: Piano Works, Vol. 2
$27.99CDSignum Classics
Oct 10, 2025SIGCD923 -
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Schumann: Complete Songs for Various Voices and Piano
$18.99CDBrilliant Classics
Nov 07, 2025BRI97410 -
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High Hopes
$18.99CDArs Produktion
Oct 31, 2025ARS38685 -
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Schumann Collection – Works for Strings, Winds and Piano (Li
$29.99CDB Records
Nov 28, 2025LBM080 -
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Great Composers in Words & Music: Robert Schumann
The latest instalment in this popular series turns to the life and times of Robert Schumann. The text is written by Davinia Caddy, narrated by Leighton Pugh, and features excerpts from some of Schumann’s best-known works.
Schumann: Lied Edition / Schreier, Shetler
That (these recordings) are now available at budget price is a cultural achievement by [Berlin Classics]. Seize the opportunity. -- MusicWeb International
The fusion of lyricism and music in the Lied style, a form in which Schumann succeeded so subtly, finds a particular parallel in the interpretations of Schumann’s work by Peter Schreier and Norman Shetler. Their recordings, dating back half a century, are still regarded as reference works for their calmness and composure, as well as their warmth and intimacy. These works are presented with the same care and devotion as the music itself in these liner notes, as we are invited to experience the personal struggles and triumphs of one of the most famous composers of the Romantic era.
REVIEWS:
I don’t think I exaggerate if I state that Peter Schreier, among tenors, was the pre-eminent interpreter of German Lieder during the second half of the twentieth century...his verbal acuity, his ability to adjust the colour of the tone in order to express feelings and atmosphere and his sense for nuance set him apart from almost any other singer during that period.
Is Schreier dragging [tempi, compared to other singers]? No - that is not my feeling. His deep involvement and the hushed intensity in his declamation invest the text and music with such importance that any criticism is silenced.
This Dichterliebe should satisfy even the most discriminating connoisseur. This also goes for the other two cycles, Liederkreis Op. 24 and Op. 39. Besides the 37 songs that constitute the three cycles there are another 75 from various groups that Schreier for some reason preferred not to record in their entirety. These 75 are just as idiomatically performed. I am full of admiration for the consistency of Schreier’s singing – consistency in this case means that he treats each song according to its contents.
For those who are only familiar with the most well-known of his songs there will be revelations aplenty. Some of the “new” songs may need a couple of hearings to reveal their greatness, for instance the four Lieder aus dem Schenkenbuch im Divan. More immediate are perhaps the Fünf Lieder Op. 40, even though the second of them, Muttertraum, is uncommonly chromatic for Schumann. Der Soldat and Der Spielmann are charming and Verratene Liebe is quite irresistible. Here also is one of Schumann’s most touching songs, the Rückert setting Der Himmel hat eine Träne geweint, followed by Ich hab’ in mich gezogen and don’t miss Zum Schluss.
On CD 4 there are more gems. Zwölf Gedichte von Justinus Kerner Op. 35 is a longstanding favorite. I thought nobody would ever outdo Thomas Hampson, but Schreier is possibly even more involved. No. 2, Stirb, Lied’ und Freund’! is heart-rending in Schreier’s hands, Auf das Trinkglas eines verstorbenen Freundes (No. 6) is magical and Stille Tränen is so exquisitely interpreted. At first hearing this group of songs — it isn’t really a song-cycle — may seem rather alien to those who only know the “usual” Schumann. They are more akin to Brahms’ late songs. Give them a chance and they will open up and Schreier is the best possible guide into this new world.
Also lend an ear to the inwardly sung Schneeglöcken (CD 4 tr. 14). Finally Schreier takes us to the realm of darkness in Sechs Gedichte von Nikolaus Lenau und Requiem...Schreier is great here.
These recordings were originally produced by VEB Deutsche Schallplatten, which was the only record company in the German Democratic Republic. In the West they were also available on Deutsche Grammophon through a license agreement. That they now are available at budget price is a cultural achievement by Brilliant. Seize the opportunity.
--MusicWeb International (Göran Forsling)
Masks under the Mask
Between Eusebius and Florestan
Schumann: Piano Quartets / Dvořák Piano Quartet
Robert Schumann, a versatile, well-educated young artist destined for great things, a man whose music has always amazed with its extent and profundity ... and also a person of delicate psyche, which many a time led him to the very border between life and death.
He composed the Piano Quartet in C minor, his first piece of this ilk, at the age of 18, and although, notwithstanding his original intention, he would never remake it into a symphony, he still had it on his mind some 20 years later: “I vividly recollect a passage in one of my works (1828), which I thought was romantic, with a spirit different to that of old music that appeared to me as though opening up a new poetic life.”
The Piano Quartet in E flat major, Op. 47, already attests to Schumann’s compositional mastery, with its idiom inspired by Bach and Beethoven yet speaking in a clearly singular language. The 1853 Märchenerzählungen (Fairy Tale Narrations), was one of the composer’s last happy creative upswings, written shortly before he attempted suicide by jumping from a bridge into the river Rhine with the aim to put an end to his unbearable mental torment. The Dvorák Piano Quartet’s album spans the entire arch of Schumann’s work: the beginning, the peak and the end. Just like all his music, it shows how immense beauty is often close to pain and suffering. Immense beauty and anguish of the soul in Schumann’s chamber music.
Mondnacht - Lieder und Klavierwerke von Robert Schumann
Schumann: Symphonies / Janowski, Dresdner Philharmonie
Marek Janowski presents Schumann: Complete Symphonies, a comprehensive collection recorded together with the Dresdner Philharmonie. After a fruitful decade as a composer for piano and voice, Schumann then began writing symphonic works in 1841, marking a new phase in his life. Recorded between 2021 and 2023, Janowski interprets Schumann’s symphonies with great vitality and intensity in this release that celebrates the culmination of his tenure as chief conductor with the orchestra.
Marek Janowski is one of the most celebrated conductors of our time. This remarkable recording of Schumann’s complete symphonies follows 2023’s Schubert Unfinished & Great Symphonies (also with the Dresdner Philharmonie), complete recordings of Bruckner, Brahms and Beethoven’s symphonies, several works by Richard Strauss, and Wagner’s ten mature operas. From 2019 to 2023 Janowski was chief conductor and artistic director of the Dresdner Philharmonie, and also realized complete recordings of Beethoven’s Fidelio (2021), Puccini’s Il Tabarro and Mascagni’s Cavalleria rusticana (both 2020) with the orchestra.
Schumann: Kreisleriana & Ghost Variations; Widmann: 11 Humoresken / Pilsan
Schumann composed Kreisleriana in April 1838, at the age of 27, exactly the same age as Aaron Pilsan today : “The youthful thing that I can identify with in Kreisleriana is its spontaneity. If I had to describe the piece, I would use the German word for crazy, ‘verrückt’, which doesn’t just mean crazy, but also to be disconnected from reality. So, crazy, imaginative and intimate… There is a huge connection between these two German composers, as Jörg Widmann was inspired by Schumann’s music a lot and even his musical language is very similar, even though their styles are obviously very different. The starting point for Widmann’s music is from feelings, from the emotions and sentiments and that is where there is a similarity, but not only there. He even quotes Robert Schumann in his tenth Humoreske, taking a bar directly from Schumann’s Geistervariationen."
REVIEW:
Pilsan expresses the inner turmoil of the Kreisleriana with a keen sense of the enigmatism that is one of the secrets of Schumann’s art. He also finds the right approach in the Geistervariationen, interiorized, cantabile and supple. The melodic tenderness is never obscured by melancholy. It is in such a clear and restrained interpretation that the loss becomes clear, for this is, after all, Schumann’s last work before he was committed to a mental hospital.
Between the two Schumann works Aaron Pilsan has inserted Jörg Widmann’s Elf Humoresken, whose title refers to Robert Schumann. He succeeds very well in showing what the composer wanted: "May the interpreter discover in each of the pieces its very own tone and make it sound, sometimes mocking, then again dry, here melancholically clouded, but always with humor and subtlety."
-- Pizzicato
[Pilsan’s] artistry has evolved considerably. You have to turn to the most esteemed recordings of Kreisleriana, by Horowitz, Pollini, and Argerich, for example, to outstrip Pilsan’s performance. He seeks more balance and moderation at times than those pianists...he’s clearly to the manner born.
Reading the informative liner notes to this new release, which also includes a brief interview with Widmann conducted by Pilsan, you pick up some obvious reference points. Schumann wrote his own set of humoresques, and he freely used the expression marking mit Humor or mit guten Humor, which a postmodern composer like Widmann doesn’t take to be as simple as it looks. He takes full advantage of an emotional spectrum extended even farther than Schumann’s.
The mood is often freely tonal and Romantic, easily accessible if you appreciate contemporary eclecticism and Widmann in particular, as I very much do. Fragmentary references to Schumann abound, and in the final piece a bar of music from Schumann’s last work, the “Ghost” Variations, is directly quoted, serving as a link to Pilsan’s performance of the whole piece. The other major work on the program, Kreisleriana, was based on the fantastical Kapellmeister Johannes Kreisler created by E. T. A. Hoffman. The fact that Schumann borrows the title of one of the three Kreisler novels (the last of which is narrated by his cat) implies that the music describes Kreisler’s peculiar temperament as much as Schumann’s – in the medieval sense, temperament is rooted in the four humors.
I haven’t heard other recordings of the Widmann, but Pilsan’s account seems nearly ideal in the way he merges Schumann into the contemporary texture of the music.
-- Fanfare
Robert Schumann: Piano Works, Vol. 2
Schumann: Piano Trios, Vol. 2 / Kungsbacka Piano Trio
After its first album devoted to Schumann’s first two piano trios, the Kungsbacka Piano Trio now presents the conclusion of this series with the Piano Trio No. 3 in G minor, to which they add the Six Studies in Canonic Form, originally for pedal piano and performed here in an arrangement for piano trio, and an early work, the Quartet in C minor for violin, viola, cello and piano, which was only published in 1979. Composed in 1851, the third Piano Trio achieves the tonal balance Schumann was aiming for with an utmost independence of the three instruments while having ‘obsessive impulses’ running through it, to quote pianist Simon Crawford-Phillips. The Six Studies in Canonic Form that follow appear as small contrapuntal jewels that testify to Robert Schumann’s keen interest in Johann Sebastian Bach’s Preludes and Fugues. Finally, the Quartet composed when Schumann was 18 reveals a wildly creative mind at work, inspired in turn by Beethoven, Mendelssohn and Chopin. Yet, despite these influences, one perceives a distinctive voice that reveals the obsessive qualities that would characterise Schumann’s later works. “A thrilling ride for performer and listener”, promises Crawford-Phillips.
REVIEW:
In Schumann’s Piano Trio 3 in G minor, the Kungsbacka Trio is precise and spry for the entire 26 minutes, and the sound quality is pristine. These musicians find an elegance in the composer that other artists sometimes miss.
The 6 Studies in Canonical Form appear here in their transcription for trio by Theodor Kirchner. The quality is high, but just a few might have sufficed.
The Piano Quartet in C minor is from 1829, making it one of Schumann’s very first attempts at composition. He never finished the piano parts, and so they are completed here by musicologist Joachim Draheim. The Minuet is especially lighthearted, with pianist Simon Crawford-Phillips leading the way. At 33 minutes, this piece is a bit long, with many mercurial shifts of mood and dynamics. Still, this is an impressive album, a happy meeting of performers and material.
-- American Record Guide
Schumann, Vol. 3
Schumann: Symphonies 1 & 2 / Vriend, Stavanger Symphony
After Beethoven, Mendelssohn and Schubert, Jan Willem de Vriend starts a new symphonic cycle dedicated to Schumann. This is the first recording with Stavanger Symphony Orchestra both for the conductor and for Challenge Classics. More than ever through this new and exciting collaboration de Vriend gives a thoroughly original account of the first two symphonies. Just like the French critic Jean Charles Hoffelé puts it, de Vriend is always 'striking'.
Schumann: Symphonies Nos. 3 & 4
Schumann: Complete Songs for Various Voices and Piano
C. Schumann & R. Schumann: Music for Clarinet & Piano
Robert Schumann: Fantasies
Schumann: Piano Works, Vol. 2
Schumann: First Masterworks for Solo Piano / Feltsman
Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world. Born in Moscow in 1952, Mr. Feltsman debuted with the Moscow Philharmonic at age 11. In 1969, he entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. His debut at Carnegie Hall established him as a major pianist on the American and international scene. A dedicated educator of young musicians, Mr. Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City.
Schumann in English, Vol. 1
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
Robert & Clara Schumann: Works for Oboe & Piano / Daniel, Drake
Taneyev & Schumann: Piano Quintets / Donohoe, Sacconi Quartet
The two towering masterpieces of the piano quintet genre on this disc were written seventy years and a thousand miles apart, but for all this, they are closely related – Marina Frolova Walker.
Signum artists Peter Donohoe and the Sacconi Quartet join forces to bring piano quintets by Sergey Taneyev and Robert Schumann in their latest album. Their performances of Taneyev’s spectacular Piano Quintet in early 2020 were received with universal acclaim. This resulting album recording felt inevitable, coupling the Taneyev with Schumann’s earlier quintet, itself of such significance to Sergey Taneyev.
High Hopes
Schumann: Violin Concerto & Works for Violin and Piano by Cl
Schumann: Piano Works / Llŷr Williams
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).
Schumann: Complete Piano Trios / EsTrio
After many years of creating intensely original solo piano and song repertoire, Robert Schumann made a relatively late entry into chamber music. The piano trio genre was initially inspired by Mendelssohn who was considered by Schumann to be ‘the 19th-century Mozart.’ After testing his creative freedom with the Phantasiestücke Schumann increasingly relished the sonorities and musical discourse of strings and piano, and from the effusive energy and ardour that shines through in Op. 63 to the deep convictions expressed in Op. 110, these works include pages of incredible lyricism and pure enchantment for which Schumann had no rivals.
Schumann Collection – Works for Strings, Winds and Piano (Li
Schumann Collection - String Quartets & Piano Quintet
Solitude -Robert & Clara Schumann: Piano Works / Benjamin Kim, Niek Baar
The album Solitude features music of Robert Schumann and Clara Schumann. Dutch violinist Niek Baar and American pianist Ben Kim tell us: “Robert Schumann brought us together as duo partners and as friends. His writing, obsessively swinging between fiery turmoil and tender longing, gave us a common language to communicate with one another”. On this recording, Robert Schumann's Violin Sonatas Nos. 2 & 3 are paired with Clara Schumann's 3 Romances, Op. 22. Listening to her romances, we note that Clara quotes Robert's Violin Sonata No. 1. This romantic gesture underlines the artistic bond between Clara and Robert Schumann.
Strauss, Schumann & Weber: Works for Horn / Owen, Wilson, BBC Philharmonic
Regarded as one of Europe’s leading horn players, Martin Owen appears as a soloist and chamber musician around the world. Currently principal horn at the BBC Symphony Orchestra, he has previously served as principal horn of the Royal Philharmonic Orchestra and as solo horn of the Berliner Philharmoniker.
Weber’s Concertino was written for the old, valveless ‘natural horn’; its limited range of notes (tied to the harmonic series) was extended mechanically with additional tubing (‘crooks’) and, more artfully, by virtuoso players bending notes, and varied hand stopping. The technical demands of the Concertino are testament to the extraordinary facility of the hornists of the period. The first Horn Concerto by Richard Strauss, written at the age of nineteen, whilst a student, is widely considered his first uncontested masterpiece. Although the influence of Brahms and Schumann are evident, his own compositional voice is unmistakable. Strauss would continue to write significant parts for horn in all of his orchestral scores (possibly an influence of his father, who was a virtuoso hornist), but the second Concerto was not composed until 1942 – some sixty years later. The style is much more neo-classical, even ‘Mozartian’. Schumann’s riotous Concertstück for four horns opens the programme, and features three more outstanding soloists: Christopher Parkes (Swedish Radio Symphony Orchestra, Sinfonia of London), Alec Frank-Gemmill (Gothenburg Symphony Orchestra), and Sarah Willis (Berliner Philharmoniker).
Schumann Collection - Trios & Quartet for Piano & Strings / Fouchenneret
For the Third Volume of the Schumann Collection which Pierre and Théo Fouchenneret have embarked upon together, they join forces with Victor Julien-Laferrière and Lise Berthaud to perform the Complete Trios for Piano and Strings, and the Quartet for Piano and Strings, Opus 47. These four masterpieces simultaneously reveal the influence of Felix Mendelssohn, Robert’s love for Clara, and the strong personality of a composer possessed of a bourgeoning poetic universe.
