make music part of your life series: Felix Mendelssohn Bartholdy String Quartet No. 6 in F minor, Op. 80

Felix Mendelssohn Bartholdy String Quartet No. 6 in F minor, Op. 80

SchumannQuartett

Published on Mar 7, 2014

1. Allegro vivace assai min 00:09
2. Allegro assai min 07:41
3. Adagio min 12:29
4. Finale: Allegro molto min 21:20

Founded in Cologne in 2007, the Schumann Quartet is composed of the brothers Erik, Ken and Mark Schumann, along with violist Liisa Randalu. In May 2013 the Quartet has won the 1st Prize at the international String Quartet Competition “Quatuor à Bordeaux”, after it had already won the Competition “SCHUBERT AND MODERN MUSIC” in Graz (Austria) in 2012. Likewise the four musicians were among the prizewinners at the renowned Paolo Borciani Competition (2011) and at the 7th International Chamber Music Competition in Osaka (2011).

The ensemble is currently studying under the guidance of Harald Schoneweg (Cherubini Quartet) at Cologne Musikhochschule, and with Günter Pichler (Alban Berg Quartet) at the Queen Sofia College of Music, Madrid.

They also continue to receive valuable instruction from Heime Müller, Eberhard Feltz, Henk Guittart and the members of Alban Berg Quartet.

The ensemble is supported by scholarships from Villa Musica Rheinland-Pfalz (Mainz) and the Irene Steels-Wilsing Foundation, and was previously selected for a grant by the Werner Richard / Dr. Carl Dörken Foundation.

Ever since the 2009/10 season, the Schumann Quartet has enjoyed the status of Artist in Residence in the “Erstklassik” recital series held in Düsseldorf’s Robert Schumann Auditorium. They are also a welcome, often-invited guest in other concert halls of their home region North Rhine Westphalia, such as the Beethovenhaus in Bonn. Also the quartet goes regularly on tour to Japan, Canada, Austria and Italy.

The artists have teamed up with chamber music partners such as pianist Henri Sigfridsson, oboist Ramón Ortega Quero, clarinetist David Orlowsky, cellist Nicolas Altstaedt and violist Nils Mönkemeyer.

WDR Classical Radio (Cologne) has recorded the Schumann Quartet several times — most recently in January 2013, with a live concert broadcast of works by Mozart and Verdi, along with the 3rd String Quartet by recently deceased Düsseldorf composer Jürg Baur.

Released in April 2013, the Schumann Quartet’s début CD features works by Beethoven, Bartók and Brahms.

Historic Musical Bits: Wilhelm Kempff plays Robert Schumann – Piano Concerto in A minor, Op. 54 (Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik)

Robert Schumann – Piano Concerto in A minor, Op. 54

Wolfgang Amadé Mozart

Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik

Movements:

Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
*****************************************************************
From Wikipedia, the free encyclopedia

The Piano Concerto in A minor, Op. 54, is a Romantic concerto by Robert Schumann, completed in 1845. The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part. Ferdinand Hiller, the work’s dedicatee, conducted.

History

Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed.

In 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie. His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to complete the work. It was the only piano concerto that Schumann completed.

The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto, also in A minor. Grieg’s concerto, like Schumann’s, employs a single powerful orchestral chord at its introduction before the piano’s entrance with a similar descending flourish. Rachmaninov also used the work as a model for his first Piano Concerto.

After this concerto, Schumann wrote two other pieces for piano and orchestra: the Introduction and Allegro Appassionato in G major (Op. 92), and the Introduction and Allegro Concertante in D minor (Op. 134).

Instrumentation

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano.

Structure

The piece, as marked in the score, is in three movements:

1. Allegro affettuoso (A minor)

2. Intermezzo: Andantino grazioso (F major)

3. Allegro vivace (A major)

There is no break between these last two movements (attacca subito).

Schumann preferred that the movements be listed in concert programs as only two movements:^{[citation needed]}

1. Allegro affettuoso
2. Andantino and Rondo

The three movement listing is the more common form used.

Allegro affettuoso

The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. The first theme is introduced by the oboe along with wind instruments. The theme is then given to the soloist. Schumann provides great variety with this theme. He first offers it in the A minor key of the piece, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A flat section. The clarinet is often used against the piano in this movement. Toward the end of the movement, the piano launches into a long cadenza before the orchestra joins in with one more melody and builds for the exciting finish.

Intermezzo

This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement’s theme before moving straight into the third movement.

Allegro vivace

The movement opens with a huge run up the strings while the piano takes the main, A major theme. Schumann shows great color and variety in this movement. The tune is regal, and the strings are noble. Though it is in 3/4 timing, Schumann manipulates it so that the time signature is often ambiguous. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra.

Further reading

• Donald Tovey, Essays in Musical Analysis: Concertos (London, 1936)
• Alfred Nieman, “The Concertos,” in Robert Schumann: The Man and his Music, edited by Alan Walker (London, 1972)
• Michael Steinberg, “The Concerto: A Listener’s Guide”, (Oxford, 1998)

 

JOHANNES BRAHMS- Serenade Nº2 A, Op. 16

Carlos Garcia

Published on Jun 10, 2013

JOHANNES BRAHMS:

Serenade Nº2 A-Dur Op 16

Allegro moderato (la mayor)
Scherzo. Vivace (do mayor) — Trio (fa mayor)
Adagio non troppo (la menor)
Quasi menuetto (re mayor) — Trio (si sostenido menor)
Rondo. Allegro (la mayor)

Orquesta de cámara Scottish

Director. Charles Mackerras

Serenatas (Brahms)
Las dos serenatas, opp. 11 y 16, representan dos de los primeros intentos de Johannes Brahms de escribir música orquestal. Ambas datan de los años 1850, específicamente del período en el que trabajó en la corte de Detmold. Según sus biografos ese período fue tranquilo y reposado, y a pesar de que al mismo tiempo componía el diabólico primer concierto para piano, compuso algunas piezas corales y el sexteto para cuerda, op. 18.

Serenata n.º 2 en la mayor, op. 16.

La segunda serenata fue escrita entre 1857 y 1860, y está dedicada a Clara Schumann. Llama poderosamente la atención su orquestación: sin timbales, trompetas, ni violínes. En este sentido se le suele relacionar con la ópera Uthal de Etienne Méhul.
En 1875 Brahms revisó la partitura para una nueva edición, por lo general usada hoy en día. Algunos autores han sugerido que la peculiar orquestación fue producto de esta revisión. Otros lo desmienten.
La serenata consta de cinco movimientos y dura aproximadamente treinta minutos.

• Music

  • “Serenade No. 2 in A Major, Op. 16: I. Allegro Moderato” by Scottish Chamber Orchestra & Sir Charles Mackerras (iTunes)

Says Google Translate:  (Spanish to English)

Allegro moderato (highest)
Scherzo. Vivace (major) – Trio (F major)
Adagio non troppo (the lowest)
Quasi menuetto (high re) – Trio (if sustained low)
Rondo. Allegro (highest)

Scottish Chamber Orchestra

Head Teacher. Charles Mackerras

Serenades (Brahms)
The two serenades, opp. 11 and 16 represent two of the first attempts of Johannes Brahms to write orchestral music. Both date from the 1850s, specifically the period when he worked at the court of Detmold. According to his biographers that period was quiet and restful, and although while composing the diabolical first piano concerto, composed some choral pieces and the sextet for strings, op. 18.

Serenade No. 2 in A major, op. 16.

The second serenade was written between 1857 and 1860, and is dedicated to Clara Schumann. It is very striking orchestration: not timpani, trumpets, and violins. In this sense it is often associated with opera Uthal Etienne Mehul.
In 1875 Brahms revised the score for a new edition, usually used today. Some authors have suggested that the peculiar orchestration was the result of this review. Others say otherwise.
The serenade consists of five movements and lasts about thirty minutes.

Schumann: Symphony No. 4 (1841 Version) – Wiener Symphoniker/Sawallisch (2000) , great compositions/performances

Schumann: Symphony No. 4 (1841 Version) – Wiener Symphoniker/Sawallisch (2000)

KnaMusic

 

Schumann: Symphony No. 4 in D minor, Op. 120 (1841 Version)
Wiener Symphoniker
Wolfgang Sawallisch
rec. Großer Sendersaal des NDR, Hannover, 17 June 2000
 ******************************************************************

From Wikipedia, the free encyclopedia

The Symphony No. 4 in D minor, Op. 120, composed by Robert Schumann, was first completed in 1841. Schumann heavily revised the symphony in 1851, and it was this version that reached publication.

Clara Schumann, Robert’s widow, later claimed on the first page of the score to the symphony—as published in 1882 as part of her husband’s complete works (Robert Schumanns Werke, Herausgegeben von Clara Schumann, published by Breitkopf & Härtel)—that the symphony had merely been sketched in 1841 but was only fully orchestrated (“vollständig instrumentiert”) in 1851. However, this was untrue, and Johannes Brahms, who greatly preferred the earlier version of the symphony, published that version in 1891 despite Clara’s strenuous objections.

Movements

The work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and the usual strings.^[1]

The 1851 (published) version of the work is in four movements which follow each other without pause:^[1]

1. Ziemlich langsam – Lebhaft (D minor)
2. Romanze: Ziemlich langsam (A minor)
3. Scherzo: Lebhaft (D minor)
4. Langsam; Lebhaft (D major)

The 1841 version, however, used Italian rather than German tempo indications, with the four movements as follows:^{[citation needed]}

1. Andante con moto – Allegro di molto (D minor)
2. Romanza: Andante (A minor)
3. Scherzo: Presto (D minor)
4. Largo – Finale: Allegro vivace (D major)

Schumann’s biographer Peter Ostwald comments that this earlier version is “lighter and more transparent in texture” than the revision, but that Clara “always insisted that the later, heavier, and more stately version [of 1851] was the better one.”^{[citation needed]} (Both versions are included on the recent recording of Schumann’s complete symphonies by John Eliot Gardiner.)

External links

• Symphony No. 4: Free scores at the International Music Score Library Project

Johannes Brahms – Alto Rhapsody, Op. 53 & Tragic Overture, Op. 81 Chrissta Ludwig Otto Klamperer the philharmonic orchestra and Chorus, great compositions/performances

Johannes Brahms – Alto Rhapsody, Op. 53 & Tragic Overture, Op. 81

Classical Music

Alto Rhapsody for Alto, Male Chorus & Orchestra, Op. 53.
Christa Ludwig (mezzo soprano), Otto Klemperer/Philharmonia Orchestra & Chorus.

The Rhapsody is a setting of verses from Goethe’s Harzreise im Winter. It was written in 1869, one year after the German Requiem, with which the third part of the Rhapsody has similarities of vocal and choral style. The work is in three sections: the first two, in a chromatically dense and wandering C minor, are for the soloist and orchestra and describe the pain of the misanthropic wanderer. The second section is an aria in all but name. The third section, in a nominal C major, brings in the male chorus, which joins the soloist in a plea to a celestial spirit for an abatement of the wanderer’s pain.
The work typically takes between twelve and fifteen minutes in performance. See recordings, below, for indicative timings.
The work was first “tried out” on 6 October 1869, at the dress rehearsal for the Karlsruhe season’s first orchestral subscription concert. Amalia Boni sang the solo role; the conductor Hermann Levi was on hand, but there was no male voice chorus, and it is unclear whether Boni was accompanied by orchestra or simply on piano. Brahms and Clara Schumann were present, but there was certainly no other audience. It received its first public performance, and its first definitely known proper performance, on 3 March 1870, at Jena. The soloist at the first performance was Pauline Viardot and the conductor was Ernst Naumann.

The Tragic Overture (German: Tragische Ouvertüre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on December 26, 1880 in Vienna. Most performances last between twelve and fifteen minutes.
Brahms chose the title “Tragic” to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared “one laughs while the other cries.” Brahms quotes some material from the last movement of the Second Symphony in this overture.
The Tragic Overture comprises three main sections, all in the key of D minor.

1.Allegro ma non troppo
2.Molto più moderato
3.Tempo primo ma tranquillo.

Fantasiestücke (Op. 12), Robert Schumann – full work in HD!

HD Classical Music

The Claremont Trio offers a stunning performance of Schumann’s Fantasiestücke (Op. 12). The full work in HD!

Robert Schumann’s Fantasiestücke, Op. 12, is a set of eight pieces for piano, written in 1837. The title was inspired by the 1814 collection of novellas Fantasiestücke in Callots Manier by one of his favourite authors, E. T. A. Hoffmann. Schumann dedicated the pieces to Fräulein Anna Robena Laidlaw (1819–1901), an accomplished and attractive 18-year old Scottish pianist with whom Schumann had carried on a brief flirtation.

Schumann composed the pieces with the characters Florestan and Eusebius in mind, representing the duality of his personality. Eusebius depicts the dreamer in Schumann while Florestan represents his passionate side. These two characters parlay with one another throughout the collection, ending self-reflectively with Eusebius in “Ende vom Lied“.

1. “Des Abends” (“In the Evening”) in D-flat major / Sehr innig zu spielen (Play very intimately)

Schumann, after completing the work, then gave the piece its title, which introduces the character of Eusebius, who serves as a symbolic representation of Schumann’s dreamy self. He intended the imagery to be a “gentle picture of dusk.”

2. “Aufschwung” (“Soaring”, literally “Upswing”) in F minor / Sehr rasch (Very rapidly)

Schumann conceived of “Aufschwung” as a depiction of the character Florestan (from Beethoven’s Fidelio) indulging in his desires, and as the Norton Anthology of Western Music describes “at the height of his passions.”

3. “Warum?” (“Why?”) in D-flat major / Langsam und zart (Slowly and tenderly)

The title “Why?” was intended by Schumann to signify Eusebius’s reflection on the excesses of Florestan in “Aufschwung”.[2] The piece proceeds with “gentle questioning” and ends with an “inconclusive answer.”[1]

4. “Grillen” (“Whims”) in D-flat major / Mit Humor (With humor)

With its whimsical, quirky nature, this piece solely represents Florestan and his eccentricities.[1]

5. “In der Nacht” (“In the Night”) in F minor / Mit Leidenschaft (With passion)

The two characters of Florestan and Eusebius (the interaction of which Schumann was attempting to represent within the Fantasiestücke) unite for the first time in this piece, which has both “passion together with nocturnal calm.” Schumann is said to have perceived in “In der Nacht” the story of Hero and Leander, albeit not until after writing it.

6. “Fabel” (“Fable”) in C major / Langsam (Slowly)

Like the previous piece, this also juxtaposes both the passionate and dreamy side of Schumann within the same work (as opposed to representing each separately, as in the first subset). The key of C major breaks from the pattern of D-flat major/F minor established by the previous pieces. In this piece, the whimsical nature of Florestan is set against the ethereal tranquility of Eusebius, resulting in a “placid narrative together with rich veins of humor.”

7. “Traumes Wirren” (“Dream’s Confusions”) in F major / Äußerst lebhaft (Extremely lively)

The title is implicative of the struggle between the dreams and the passions within Schumann. In this piece the dreamy quality of Schumann, represented by the character of Eusebius, becomes entangled by the passions of Florestan, who symbolizes Schumann’s more emotional side. Like the previous piece, this piece also departs from the established D-flat major/F minor key signature scheme, as it is written in the key of F major which is also the key of “Ende vom Lied”, the next piece. The piece is rhythmically intense and a rapid pulse permeates it.

8. “Ende vom Lied” (“End of the Song”) in F major / Mit gutem Humor (With good humor)

Schumann described this piece as a combination of wedding bells and funeral bells. In a letter to Clara Schumann, his wife, he wrote about this last piece: “At the time, I thought: well in the end it all resolves itself into a jolly wedding. But at the close, my painful anxiety about you returned.”
—————————————-­————-
The text above is offered by courtesy of Wikipedia, under a Creative Commons Attribution-ShareAlike License.

Performed by: Claremont Trio

Music by courtesy and under copyright of: Isabella Stewart Gardner Museum, Boston
Music license: CC BY-NC-ND 2.0
Website: http://www.gardnermuseum.org

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Schumann – Wilhelm Kempff (1972) Waldszenen op 82: great compositions/performances (my favorite interpretation of this marvelous composition)

Schumann – Wilhelm Kempff (1972) Waldszenen op 82

Monsieurlemenestrel

 Deutsch: Robert Schumann und Clara Schumann, nach einem Relief von Ernst Rietschel (Photo credit: Wikipedia)

Waldszenen (Scènes des bois), op. 82, est un recueil de neuf petites pièces pour piano composées par Robert Schumann en 1849.

Chacune de ces neuf pièces a un titre, tout comme chacune des Scènes d’enfants op. 15 : 0:00 : Entrée (Eintritt)

*********************************************
Waldszenen (Forrest Scenes or

English: Robert Schumann Français : Robert Schumann Deutsch: Robert Schumann (Photo credit: Wikipedia)

Scenes From the Woods)

(From Wikipedia, the free encyclopedia)

 

Waldszenen (“Forest Scenes”), Opus 82, is a set of nine short solo piano pieces composed by Robert Schumann in 1848-1849, but first published in 1850-1851 in Leipzig by Bartholf Senff.^[1]

On the set, Schumann wrote: “The titles for pieces of music, since they again have come

English: House of Robert Schumann in Zwickau (Saxony). Deutsch: Robert-Schumann-Haus in Zwickau (Sachsen) (Photo credit: Wikipedia)

into favor in our day, have been censured here and there, and it has been said that ‘good music needs no sign-post.’ Certainly not, but neither does a title rob it of its value; and the composer, by adding one, at least prevents a complete misunderstanding of the character of his music. What is important is that such a verbal heading should be significant and apt. It may be considered the test of the general level of the composer’s education.”^[2]

Movements

Title	Average Duration	Signature Key
Eintritt (Entry)	2:10	B-flat major
Jäger auf der Lauer (Hunters on the lookout)	1:18	D minor
Einsame Blumen (Lonely Flowers)	2:17	B-flat major
Verrufene Stelle (Haunted Place)	3:07	D minor
Freundliche Landschaft (Friendly Landscape)	1:07	B-flat major
Herberge (Wayside Inn)	2:02	E-flat major
Vogel als Prophet (Bird as Prophet)	3:20	G minor
Jagdlied (Hunting Song)	2:29	E-flat major
Abschied (Farewell)	3:29	B-flat major

Deutsch: Robert-Schumann-Platz in Bitterfeld (Photo credit: Wikipedia)

Robert u Clara Schumann 1847 (Photo credit: Wikipedia)

Clara Schumann: Piano Concerto Op. 7 – Francesco Nicolosi

FourthMovement – The Best of Classical Music

Soloist: Francesco Nicolosi
Clara Schumann – Piano Concerto Op. 7 in A minor

 

From Wikipedia, the free encyclopedia

 

Clara Schumann
Portrait by Franz von Lenbach, 1878
Born	Clara Josephine Wieck 13 September 1819 Leipzig
Died	20 May 1896 (aged 76) Frankfurt, German Empire
Cause of death	Stroke
Nationality	German
Occupation	Pianist, composer
Spouse(s)	Robert Schumann (m. 1840; died 1856)
Children	Eight

Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann. Together they encouraged Johannes Brahms. She was the first to perform publicly any work by Brahms.^[1] She later premiered some other pieces by Brahms, notably the Variations and Fugue on a Theme by Handel.^[2]

Early life

 Clara Wieck, from an 1835 lithograph

Clara Josephine Wieck was born in Leipzig on 13 September 1819 to Friedrich Wieck and Marianne Wieck (née Tromlitz).^[3] Marianne Tromlitz was a famous singer in Leipzig at the time and was singing solos on a weekly basis at the well-known Gewandhaus in Leipzig.^[4] The differences between her parents were irreconcilable, in large part due to her father’s unyielding nature.^[4] After an affair between Clara’s mother and Adolph Bargiel, her father’s friend,^[5] the Wiecks divorced in 1824 and Marianne married Bargiel. Five-year-old Clara remained with her father.

Child prodigy

From an early age, Clara’s career and life was planned down to the smallest detail by her father. She daily received a one-hour lesson (in piano, violin, singing, theory, harmony, composition, and counterpoint), and two hours of practice, using the teaching methods he had developed on his own. In March 1828, at the age of eight, the young Clara Wieck performed at the Leipzig home of Dr. Ernst Carus, director of the mental hospital at Colditz Castle. There she met another gifted young pianist who had been invited to the musical evening, named Robert Schumann, who was nine years older. Schumann admired Clara’s playing so much that he asked permission from his mother to discontinue his law studies, which had never interested him much, and take music lessons with Clara’s father. While taking lessons, he took rooms in the Wieck household, staying about a year. He would sometimes dress up as a ghost and scare Clara, and this created a bond.

In 1830, at the age of eleven, Clara left on a concert tour to Paris via other European cities, accompanied by her father. She gave her first solo concert at the Leipzig Gewandhaus. In Weimar, she performed a bravura piece by Henri Herz for Goethe, who presented her with a medal with his portrait and a written note saying: “For the gifted artist Clara Wieck”. During that tour, Niccolò Paganini was in Paris, and he offered to appear with her.^[6] However, her Paris recital was poorly attended, as many people had fled the city due to an outbreak of cholera.^[6]

At the age of 18, Clara Wieck performed a series of recitals in Vienna from December 1837 to April 1838.^[7] Austria’s leading dramatic poet, Franz Grillparzer, wrote a poem entitled “Clara Wieck and Beethoven” after hearing Wieck perform the Appassionata sonata during one of these recitals.^[7] Wieck performed to sell-out crowds and laudatory critical reviews; Benedict Randhartinger, a friend of Franz Schubert (1797–1828), gave Wieck an autographed copy of Schubert’s Erlkönig, inscribing it “To the celebrated artist, Clara Wieck.”^[7] Frédéric Chopin described her playing to Franz Liszt, who came to hear one of Wieck’s concerts and subsequently “praised her extravagantly in a letter that was published in the Parisian Revue et Gazette Musicale and later, in translation, in the Leipzig journal Neue Zeitschrift für Musik.”^[8] On 15 March, Wieck was named a Königliche und Kaiserliche Kammervirtuosin (“Royal and Imperial Chamber Virtuoso”), Austria‘s highest musical honor.^[8]

The appearance of this artist can be regarded as epoch-making…. In her creative hands, the most ordinary passage, the most routine motive acquires a significant meaning, a colour, which only those with the most consummate artistry can give.

An anonymous music critic, writing of Clara Wieck’s 1837–1838 Vienna recitals[7]

JOHANNES BRAHMS.- Serenade Nº2 A-Dur Op 16: make music part of oyur life series

JOHANNES BRAHMS.- Serenade Nº2 A-Dur Op 16

  Carlos Garcia

JOHANNES BRAHMS.-

Serenade Nº2 A-Dur Op 16

1. Allegro moderato (la mayor)
2. Scherzo. Vivace (do mayor) — Trio (fa mayor)
3. Adagio non troppo (la menor)
4. Quasi menuetto (re mayor) — Trio (si sostenido menor)
5. Rondo. Allegro (la mayor)

Orquesta de cámara Scottish
Director. Charles Mackerras

Serenade (Brahms)

The two serenades, opp. 11 and 16 represent two of the first attempts to Johannes Brahms orchestral writing. Both date from the 1850s, specifically the period when he worked at the court of Detmold. According to his biographers that period was quiet and restful, and yet at the same time composing diabolical first piano concerto, composed some choral pieces and the sextet for strings, op. 18.
Serenade No. 2 in A major, op. 16.

The second serenade was written between 1857 and 1860, and is dedicated to Clara Schumann. It is very striking orchestration: not timpani, trumpets, and violins. In this sense it is often associated with opera Uthal Etienne Mehul.
In 1875 Brahms revised the score for a new edition, usually used today. Some authors have suggested that the peculiar orchestration resulted from this review. Others deny it.
Serenade has five movements and lasts about thirty minutes.

Robert Schumann: Introduction & Allegro in D minor Op. 134: make music part of your life series

Robert Schumann: Introduction & Allegro in D minor Op. 134

  operazaile
Robert Schumann (1810-1856)

Introduction and Concert-Allegro in D minor for piano and orchestra,
Op. 134 (1853)

Tzimon Barto, piano
NDR Sinfonieorchester
Christoph Eschenbach
2009.

Clara Schumann

Schumann, the wife of composer Robert Schumann, was a renowned pianist of her time. A child prodigy, she made her debut in 1830 and later performed with great success all over Europe. She was an outstanding interpreter of works by her husband and Johannes Brahms and was one of the first pianists to perform from memory. Her own compositions were mainly piano pieces and songs. Schumann supported her family financially and organized her own concert tours while also raising how many children? More… Discuss

Great Compositions/Performances: Schumann Kinderszenen Op 15 – Valentina Lisitsa

[youtube.com/watch?v=Aq8LDUCw6sg]

Schumann Kinderszenen Op 15 – Valentina Lisitsa Haskil Argerich Horowitz Bosendorfer

From Wikipedia, the free encyclopedia

 

First edition title page

Kinderszenen (German pronunciation: [ˈkɪndɐˌst͡seːnən]; original spelling Kinderscenen, “Scenes from Childhood“), Opus 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838. In this work, Schumann provides us with his adult reminiscences of childhood. Schumann had originally written 30 movements for this work, but chose 13 for the final version.^[1] Robert Polansky has discussed the unused movements.^[2]

Nr. 7, Träumerei, is one of Schumann’s best known pieces; it was the title of a 1944 German biographical film on Robert Schumann.^[3] Träumerei is also the opening and closing musical theme in the 1947 Hollywood film Song of Love, starring Katharine Hepburn as Clara Wieck Schumann.^[4]

Schumann had originally labeled this work Leichte Stücke (Easy Pieces). Likewise, the section titles were only added after the completion of the music, and Schumann described the titles as “nothing more than delicate hints for execution and interpretation”.^[5] Timothy Taylor has discussed Schumann’s choice of titles for this work in the context of the changing situation of music in 19th century culture and economics.^[6]

In 1974, Eric Sams noted that there was no known complete manuscript of Kinderszenen

Movements

Title	Key	Play
1. Von fremden Ländern und Menschen Of Foreign Lands and Peoples	G major	Menu       0:00
2. Kuriose Geschichte A Curious Story[8]	D major	Menu       0:00
3. Hasche-Mann Blind Man’s Bluff	B minor	Menu       0:00
4. Bittendes Kind Pleading Child	D major	Menu       0:00
5. Glückes genug Happy Enough	D major	Menu       0:00
6. Wichtige Begebenheit An Important Event	A major	Menu       0:00
7. Träumerei Dreaming	F major	Menu       0:00
8. Am Kamin At the Fireside[9]	F major	Menu       0:00
9. Ritter vom Steckenpferd Knight of the Hobbyhorse	C major	Menu       0:00
10. Fast zu ernst Almost Too Serious	G-sharp minor	Menu       0:00
11. Fürchtenmachen Frightening	E minor	Menu       0:00
12. Kind im Einschlummern Child Falling Asleep	E minor	Menu       0:00
13. Der Dichter spricht The Poet Speaks	G major	Menu

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GREAT COMPOSITIONS/PERFORMANCES: ROBERT SCHUMANN – INTRODUCTION UND ALLEGRO APPASSIONATO OP. 92 – SVIATOSLAV RICHTER

https://www.youtube.com/watch?v=KnnxxrEvQ6I

ROBERT SCHUMANN – INTRODUCTION UND ALLEGRO APPASSIONATO OP. 92 – SVIATOSLAV RICHTER

Robert Schumann

Introduction und Allegro appassionato
[Konzertstück für Klavier und Orchester G Dur op. 92]

Sviatoslav Richter, Klavier

Sinfonie-Orchester der Nationalen Philharmonie Warschau –
Stanislaw Wislocki, Leitung

1959

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Make Music Part of Your Life Series: Clara Schumann: Piano Concerto Op. 7 – Francesco Nicolosi

[youtube.com/watch?v=bt_X-t1mX40]

Clara Schumann: Piano Concerto Op. 7 – Francesco Nicolosi

Parts/Movements

1. Allegro maestoso
2. Romanze. Andante non troppo, con grazia
3. Finale. Allegro non troppo

From Wikipedia, the free encyclopedia

Clara Schumann
Portrait by Franz von Lenbach, 1878
Born	Clara Josephine Wieck 13 September 1819 Leipzig
Died	20 May 1896 (aged 76) Frankfurt, German Empire
Cause of death	Stroke
Nationality	German
Occupation	Pianist, composer
Spouse(s)	Robert Schumann (m. 1840; wid. 1856)
Children	Eight

Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann. Together they encouraged Johannes Brahms, and she was the first pianist to give public performances of some of Brahms’s works, notably the Variations and Fugue on a Theme by Handel.^[1]

Make Music Part of Your Life Series: ROBERT SCHUMANN – Overture, Scherzo und Finale, Op.52

Make Music Part of Your Life Series: ROBERT SCHUMANN – Overture, Scherzo und Finale, Op.52:

GILBERTO SEREMBE, conductor
O.R.T. – Orchestra Regionale Toscana
Firenze, Teatro della Compagnia, 9 June 1995
http://www.italianconductingacademy.com

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GREAT COMPOSITIONS/PERFORMANCES: Brahms Piano concerto N° 2 (Barenboim – Celibidache)

Johannes Brahms (1833 – 1897)
Pianokonzer Nr. 2
Piano concerto N° 2

München Philharmoniker
Dirigent: Sergiu Celibidache
Piano: Daniel Barenboim

1st mov 00:30
2nd mov 20:00
3rd mov 29:55
4th mov 42:26

From Wikipedia, the free encyclopedia

 

Johannes Brahms

Johannes Brahms (German: [joˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer and pianist.

Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms’s popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the “Three Bs“.

Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinistJoseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed some of his works and left others unpublished.^[1]

Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and other composers. Brahms aimed to honour the “purity” of these venerable “German” structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms’s works was a starting point and an inspiration for a generation of composers.

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Make Music Part of Your Life Series: Robert Schumann 1810-1856 – Symfoni no 3 – DRSO – Thomas Dausgaard

Robert Schumann 1810-1856 – Symfoni no 3 – Danmarks Radio SymfoniOrkestret – Thomas Dausgaard.

From Wikipedia, the free encyclopedia

The Symphony No. 3 “Rhenish” in E flat major, Op. 97 is the last of Robert Schumann‘s (1810-1856) symphonies to be composed, although not the last published. It was composed from November 2 to December 9, 1850, and comprises five movements:

1. Lebhaft
2. Scherzo: Sehr mäßig (in C major)
3. Nicht schnell (in A-flat major)
4. Feierlich (in E-flat minor)
5. Lebhaft

The Third Symphony is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, four french horns in E♭, two trumpets in E♭, three trombones, timpani andstrings. Its premiere on February 6, 1851 in Düsseldorf, conducted by Schumann himself,^[1] was received with mixed reviews, “ranging from praise without qualification to bewilderment”. However according to Peter A. Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting “hurrah!”.^[2]

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Schumann, Albumblatt op. 124 Nr. 16 (Schlummerlied), Wolfgang Weller 2012.

Robert Schumann (1810 – 1856)
Albumblätter op. 124 Nr. 16 “Schlummerlied”
Wolfgang Weller

Tempo Giusto

This recording is part of the ongoing Schumann-Project:
ROBERT SCHUMANN / COMPLETE PIANO WORKS / WOLFGANG WELLER

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Robert Schumann: Cello Concerto op.129 – Mario Brunello

Mario Brunello plays the Schumann‘s Cello Concerto op.129
Umberto Benedetti Michelangeli conducts the Rai National Symphony Orchestra (Orchestra Sinfonica Nazionale della Rai)
Turin, 1996

 

Robert Schumann, Blumenstück – Sviatoslav Richter

Robert Schumann
Blumenstück op.19 (1839)
Sviatoslav Richter

 

Schumann: Pianotrio in g kl.t., op.110

Inon Barnatan, piano
Julian Rachlin, viool
Torleif Thedéen, cello

Schumann: Piano Trio in g minor, op.110

27 december 2010, Internationaal Kamermuziekfestival Utrecht, Vredenburg

 

Sviatoslav Richter plays Schumann – Symphonic Etudes, Op 13

Robert Schumann
Symphonic Etudes, Op 13

Sviatoslav Richter, piano

Recorded live, October 1968

 

Franco GULLI @ SCHUMANN-BRAHMS-DIETRICH Sonata FAE (complete) E.Cavallo,1990

F.A.E. – Violin Sonata (1853) – “In Erwartung der Ankfunt des verehrten und geliebten Freundes JOSEPH JOACHIM, schrieben diese Sonate – Robert SCHUMANN, Johannes BRAHMS, Albert DIETRICH”
0:10 / DIETRICH (1829-1908) – I. Allegro, in A minor [13’40”]
13:37 / SCHUMANN (1810-1856) – II. Intermezzo (Bewegt, doch nicht zu Schnell) WoO 22 [2’26”]
16:16 / BRAHMS (1833-1897) – III. Scherzo (Allegro) in C minor WoO 2 [5’36”]
21:53 / SCHUMANN (1810-1856) – IV. Finale (Markirtes, ziemlich lebhaftes tempo) WoO 22 [6’58”]
Franco GULLI, violin – Enrica Cavallo, piano 
(rec: June 1990, Dynamic Studio, Genova)
________________________________________­__________
Duo Gulli-Cavallo – STRAUSS: http://youtu.be/l8H081NCP7c

 

Emil Gilels spielt Robert Schumann: Arabeske Op. 18

Ort: Moskauer Konservatorium 1977