Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik
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.
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).
The piece, as marked in the score, is in three movements:
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:
The three movement listing is the more common form used.
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.
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.
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.
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
Schumann Kinderszenen Op 15 – Valentina Lisitsa Haskil Argerich Horowitz Bosendorfer
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. Robert Polansky has discussed the unused movements.
Nr. 7, Träumerei, is one of Schumann’s best known pieces; it was the title of a 1944 German biographical film on Robert Schumann. Träumerei is also the opening and closing musical theme in the 1947 Hollywood film Song of Love, starring Katharine Hepburn as Clara Wieck Schumann.
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”. 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.
In 1974, Eric Sams noted that there was no known complete manuscript of Kinderszenen
|1. Von fremden Ländern und Menschen
Of Foreign Lands and Peoples
|2. Kuriose Geschichte
A Curious Story
Blind Man’s Bluff
|4. Bittendes Kind
|5. Glückes genug
|6. Wichtige Begebenheit
An Important Event
|8. Am Kamin
At the Fireside
|9. Ritter vom Steckenpferd
Knight of the Hobbyhorse
|10. Fast zu ernst
Almost Too Serious
|12. Kind im Einschlummern
Child Falling Asleep
|13. Der Dichter spricht
The Poet Speaks
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
Portrait by Franz von Lenbach, 1878
|Born||Clara Josephine Wieck
13 September 1819
|Died||20 May 1896 (aged 76)
Frankfurt, German Empire
Cause of death
|Spouse(s)||Robert Schumann (m. 1840; wid. 1856)|
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.
Johannes Brahms (1833 – 1897)
Pianokonzer Nr. 2
Piano concerto N° 2
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.
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.
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:
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, 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!”.
Robert Schumann (1810 – 1856)
Albumblätter op. 124 Nr. 16 “Schlummerlied”
This recording is part of the ongoing Schumann-Project:
ROBERT SCHUMANN / COMPLETE PIANO WORKS / WOLFGANG WELLER
Inon Barnatan, piano
Julian Rachlin, viool
Torleif Thedéen, cello
27 december 2010, Internationaal Kamermuziekfestival Utrecht, Vredenburg
Symphonic Etudes, Op 13
Sviatoslav Richter, piano
Recorded live, October 1968
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
Ort: Moskauer Konservatorium 1977