Schumann Kinderszenen op. 15 Radu Lupu
Published on Oct 18, 2013
Robert Schumann Kinderszenen, op. 15
Radu Lupu , January 1993
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. 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.
- Von fremden Ländern und Menschen (Of Foreign Lands and Peoples), G major
- Curiose Geschichte (A Curious Story), D major
- Hasche-Mann (Blind Man’s Buff), B minor
- Bittendes Kind (Pleading Child), D major
- Glückes genug (Quite Happy), D major
- Wichtige Bebebenheit (An Important Event), A major
- Träumerei (Dreaming), F major
- Am Camin (At the Fireside), F major
- Ritter vom Steckenpferd (Knight of the Hobby-Horse), C major
- Fast zu ernst (Almost too Serious), G-sharp minor
- Fürchtenmachen (Frightening), E minor
- Kind im Einschlummern (Child Falling Asleep), E minor
- Ffrom Der Dichter spricht (The Poet Speaks), G major
The 13 pieces that constitute Robert Schumann‘s Kinderszenen for piano (Scenes from Childhood), Op. 15 (1838) showcase their creator’s musical imagination at the peak of its poetic clarity. As a result, the Kinderszenen have long been staples of the repertoire as utterly charming yet substantial miniatures, the sort of compact keyboard essays in which Schumann‘s genius found full expression. Kinderszenen was one of the projects Schumann worked on during the spring of 1838 to get through a difficult period of separation from his fiancée, Clara Wieck, who was on tour as a pianist and whose father objected to the idea of her marriage to the composer. In March of that year, Schumann wrote to Clara, “I have been waiting for your letter and have in the meantime filled several books with pieces…. You once said to me that I often seemed like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces…. I selected several and titled them Kinderszenen. You will enjoy them, though you will need to forget that you are a virtuoso when you play them.” The Kinderszenen are a touching tribute to the eternal, universal memories and feelings of childhood from a nostalgic adult perspective; unlike a number of Schumann‘s collections of piano character pieces (e.g. Album for the Young, Op. 68), the Kinderszenen are not intended to be played by children. Schumann claimed that the picturesque titles attached to the pieces were added as an afterthought in order to provide subtle suggestions to the player, a model Debussy followed decades later in his Preludes. Almost all of the Kinderszenen are miniature ternary (ABA) forms. Scene No. 1, “Von fremden Ländern und Menschen” (Of Foreign Lands and People), opens with a lovely melody whose basic motivic substance, by appearing in several vague guises throughout many of the other pieces, serves as a general unifying element. The seventh Scene, “Träumerei” (Reverie), is easily the most famous piece in the set; its charming melody and quieting power have recommended it to generations of concert pianists who wish to calm audiences after a long series of rousing encores. The Kinderszenen contain many delicate musical touches; Scene No. 4, “Bittendes Kind” (Pleading Child), for example, is harmonically resolved only when an unseen force (a parent?) gives in and grant the child’s wish at the beginning of No. 5, “Glückes genug” (Quite Happy). In the final piece, “Der Dichter spricht” (The Poet Speaks), Schumann removes himself just a bit from the indulgent reverie to formulate a narrator’s omniscient view of the child. Quietly, gently, the many moods and feelings that Schumann touched upon over the course of this remarkable 20-minute work are lovingly recalled, and the composition concludes, contentedly, in the same key of G major in which it began.
Posted in ARTISTS AND ARTS - Music, Arts, Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged 2014 Robert Schumann, all music, art, entertainment, EUZICASA, Great Compositions/Performances, KINDERSZENEN, Music, Piano, radu lupu, wikipedia
Radu Lupu plays Brahms’ – Rhapsody in g minor Op. 79 No. 2 (with sheet music)
Schubert Impromptu op. 142 No.3 B flat major – VALENTINA LISITSA
Posted in Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged B-flat major, Franz Schubert, G-Flat Major, Impromptu, Piano, piano sonata, radu lupu, Schubert, Schubert Impromptu, Six moments musicaux (Schubert), Valentina Lisitsa
Mozart:Piano Concerto No. 21 in C major, K. 467
Orchestra Filarmonica della Scala
Maurizio Pollini, piano
Riccardo Muti, conductor
From Wikipedia, the free encyclopedia
The Piano Concerto No. 21 in C major, K. 467, was completed on March 9, 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.
The concerto has three movements:
- Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.
- Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. 
- Allegro vivace assai
Recordings: This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski,Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires,Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley,Mitsuko Uchida, and Christian Zacharias.
Posted in Educational, Health and Environment, IN THE SPOTLIGHT, MEMORIES, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Allegro, Annie Fischer, arthur rubinstein, daniel barenboim, dinu lipatti, Maurizio Pollini, Mozart, Orchestra Filarmonica della Scala Maurizio Pollini, radu lupu, riccardo Muti, Tempo, wikipedia, Wolfgang Amadeus Mozart
Johannes Brahms 4 Pieces for Piano Op.119, Radu Lupu
Johannes Brahms 4 Pieces for Piano Op.119
I. Intermezzo in B minor –3:16
II. Intermezzo in E minor 3:16–8:36
III. Intermezzo in C major 8:36–10:17
IV. Rhapsody in E flat major. 10:17
Radu Lupu Piano
Posted in Educational, IN THE SPOTLIGHT, MEMORIES, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged intermezzo, Intermezzo in E minor, Johannes Brahms, Lupu Piano, radu lupu
2 successive performances of Ludwig van Beethoven‘s Turkish March from “Die Ruinen von Athen“, arranged by Richard Blackford for 8 pianos. Played by Gina Bachauer, Jorge Bolet, Jeanne-Marie Darré, Alicia De Larrocha, John Lill, Radu Lupu, Garrick Ohlsson and Bálint Vázsonyi at a Gargantuan Pianistic Extravaganza in London, 1974.
Please note that the 2nd performance is NOT a shredding video – these great pianists were actually playing what you hear!
Posted in Educational, IN THE SPOTLIGHT, MEMORIES, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged "Die Ruinen von Athen", alicia de larrocha, Balint Vazsonyi, entertainment, Gargantuan Pianistic Extravaganza in London, garrick ohlsson, Jean-Marie Darre, Jorge Bolet, Ludwig van Beethoven, Music, radu lupu, Richard Blackford