Martha Argerich plays Schumann – Kinderszenen (Scenes from Childhood) Op. 15

Martha Argerich Schumann – Kinderszenen (Scenes from Childhood) Op. 15

martha argerich

Kinderszenen

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.^[7]

Movements

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

historic musical bits: Horowitz plays Schumann Blumenstück (1966 live)

Horowitz plays Schumann Blumenstück (1966 live)

pianopera

Published on Jun 3, 2013

Robert Schumann (1810-1856):
Blumenstück (Flower Piece) in D flat, Op. 19
Vladimir Horowitz (1903-1989), piano
Recorded in 1966
Video images downloaded from vimeo

Leonid Kogan – Schumann – Fantasie in C major, Op 131

Classical Vault 1

Published on Aug 17, 2013

Robert Schumann
Fantasie in C major, Op 131
(arranged for violin and piano)

Leonid Kogan, violin
Andrei Mytnik, piano

Live recording, 1953

historic musical bits: Horowitz plays Schumann Blumenstück (1966 live)

Horowitz plays Schumann Blumenstück (1966 live)

pianopera

Published on Jun 3, 2013

Robert Schumann (1810-1856):
Blumenstück (Flower Piece) in D flat, Op. 19
Vladimir Horowitz (1903-1989), piano
Recorded in 1966
Video images downloaded from vimeo

• Music

  • “Blumenstück in D-flat Major, Op.19” by Vladimir Horowitz (Google Play • iTunes • AmazonMP3)

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  • Music

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.

ROBERT SCHUMANN – Ouverture, Scherzo und Finale, Op.52

musicmusikmusique

Published on Nov 27, 2013

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

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)

 

Schumann: Études Symphoniques Op. 13 , Emil Gilels, piano

Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]

entre88teclas

Published on Jan 17, 2013

– Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]
– http://www.entre88teclas.es/atdr/robe…

 

Historic Musical Bits, Sviatoslav Richter – Schumann – Waldszenen (Forest Scenes), Op 82 , (recorded 1956), great compositions/performances

Sviatoslav Richter – Schumann – Waldszenen (Forest Scenes), Op 82

Classical Vault 1

Published on May 5, 2013

Robert Schumann
Waldszenen (Forest Scenes), Op 82

1 Eintritt
2 Jäger auf der Lauer
3 Einsame Blumen
4 Verrufene Stelle
5 Freundliche Landschaft
6 Herberge
7 Vogel als Prophet
8 Jagdlied
9 Abschied

Sviatoslav Richter, piano

Recorded live, 1956

• Music

  • “Waldszenen, Op. 82: III. Einsame blumen. Einfach” by Sviatoslav Richter (Google Play • eMusic • AmazonMP3 • iTunes)

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  • Sviatoslav Richter

great compositions/performances, Robert Schumann , Symphony No 1 in B flat major, Op 38, Frühlingssinfonie Spring, Bernstein

Robert Schumann Symphony No 1 in B flat major, Op 38 Frühlingssinfonie Spring Bernstein

La Casa di Davide

Published on Oct 30, 2014

Robert Schumann Symphony No. 1 in B flat major, Op. 38 Frühlingssinfonie (“Spring”)
Leonard Bernstein conducts Wiener Philarmoniker
– Andante un poco maestoso – Allegro molto vivace (B flat major) 0:00
– Larghetto (E flat major) 11:56
– Scherzo: Molto vivace – Trio I: Molto piu vivace – Trio II (G minor) 19:44
– Allegro animato e grazioso (B flat major) 25:30

Historic Musical Bits: Schumann – Symphony No 2 in C major, Op 61 – Bernstein , great compositions/performances

Schumann – Symphony No 2 in C major, Op 61 – Bernstein

Classical Vault 1

Published on Oct 16, 2014

Robert Schumann
Symphony No 2 in C major, Op 61

Vienna Philharmonic Orchestra
Leonard Bernstein, conductor
**********************************************

From Wikipedia, the free encyclopedia

 

The Symphony in C major by German composer Robert Schumann was published in 1847 as his Symphony No. 2, Op. 61, although it was the third symphony he had completed, counting the B-flat major symphony published as No. 1 in 1841, and the original version of his D minor symphony of 1841 (later revised and published as No. 4).

Schumann began to sketch the symphony on December 12, 1845, and had a robust draft of the entire work by December 28. He spent most of the next year orchestrating, beginning February 12, 1846.^[1] His depression and poor health, including ringing in his ears, prevented him finishing the work until October 19. Publication followed in 1847.

The uplifting tone of the symphony is remarkable in the face of Schumann’s health problems—the work can be seen as a Beethovenian triumph over fate/pessimism. It is written in the traditional four-movement form, and as often in the nineteenth century the Scherzo precedes the Adagio. All four movements are in C major, except the first part of the slow movement (in C minor); the work is thus homotonal:

1. Sostenuto assai — Allegro, ma non troppo
2. Scherzo: Allegro vivace
3. Adagio espressivo
4. Allegro molto vivace

The first movement begins with a slow brass chorale, elements of which recur through the piece. (Schumann wrote the Six Organ Fugues on B-A-C-H, Op. 60, just before this symphony, and this preoccupation with Bach suggests a chorale prelude, a quintessential Bachian genre, in the texture and feeling of the symphony’s opening.) The following Sonata-Allegro is dramatic and turbulent. It is characterized by sharp rhythmic formulae (double-dotted rhythms) and by the masterly transformation of the material of the Introduction. The second movement is a scherzo in C major with two trios, whose main portion strongly emphasizes the diminished chord—its characteristic gesture being a rapid and playful resolution of this chord over unstable harmony. The second trio employs the B-A-C-H motif in the context of flowing eighth notes reminiscent of the Baroque, further suggesting that Bach remained on Schumann’s mind after the completion of his Op. 60. The Adagio espressivo is a sonata movement in C minor, with the character of an elegy, its middle section strongly contrapuntal in texture. The finale is in a very freely treated sonata form, its second theme related to the opening theme of the Adagio. Later in the movement, a new theme appears: this theme has, as its sources of inspiration, the last song from Beethoven’s cycle “An die ferne Geliebte” (cf. also Schumann’s Piano Fantasy in C, Op. 17), and Beethoven’s “Ode to Joy.” The coda of the Finale recalls the material from the Introduction, thereby thematically spanning the entire work.

A typical performance lasts between 35 and 40 minutes. It is scored for an orchestra consisting of two flutes, two oboes, two clarinets (in B), two bassoons, two French horns (in C), two trumpets (in C), three trombones (alto, tenor, and bass), tympani, and strings.

The symphony was first performed on November 5, 1846, at the Gewandhaus in Leipzig with Felix Mendelssohn. It was better received after a second performance some ten days later. The nineteenth century ultimately admired the work for its “perceived metaphysical content”,^[2] but the symphony’s popularity waned in the twentieth, owing to its unusual structure.^[2]

Waldszenen Op. 82 (Forest Scenes) by Robert Schumann, Hal Freedman, pianist

Hal Freedman

 

Published on Aug 2, 2012

https://itunes.apple.com/us/album/voi…
http://www.cdbaby.com/halfreedman3
http://www.amazon.com/Voices-of-the-W…
http://www.halfreedmanpianist.com

Voices of the Woods
Throughout history, the forest has been regarded as a symbol of spirituality and the cycle of life. It has inspired thought, and fired the imagination. The great composers gave the forest world a voice through the language of music. In their works, many Voices of the Woods are heard and preserved for posterity. Waldszenen, Op. 82 (Forest Scenes)

The Romantic poetry of the nineteenth century was rich with the imagery and symbolism of the forest. It was often expressed through music, such as in the beautiful “Waldszenen,” or “Forest Scenes,” inspired by some of Schumann’s favorite poems. This collection of nine musical vignettes evokes the forest as a place of mystery and the unknown, as well as a sanctuary of safety and peace. Composed in 1848-1849, toward the end of a life cut short, it is documented that Schumann “cherished” these pieces. Hal Freedman http://cdbaby.com/cd/halfreedman3
*************************************************************************
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 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

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

Wolfgang Amadé Mozart

Published on Apr 6, 2014

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

Painting: Adolf Hitler

Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27

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

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

We have done extensive research for each of the pictures and songs used on our channel. To the best of our knowledge, the copyright licenses of this picture and this song allow for their use in these circumstances. If we have made a mistake, and that is not the case, please contact us at hdclassicalmusic@outlook.com, and we will take immediate measures. Also, if you want to make any suggestions, just contact us at the same address.

 

 

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)

Jacqueline du Pré plays Schumann – Cello Concerto in A minor, Op. 129|NY Philharmonic, Leonard Bernstein, conducting: great compositions/performances

Jacqueline du Pré plays Schumann – Cello Concerto in A minor, Op. 129 (1/2)

Jacqueline du Pré plays Schumann – Cello Concerto in A minor, Op. 129

(2/2)
**********************************************

musicanth

Cello Concerto in A minor, Op. 129
Cello Concerto in A minor, Op. 129

I. Nicht zu schnell –
II. Langsam –
III. Sehr lebhaft

In this 1967 live performance at Avery Fisher Hall in New York, legendary cellist Jacqueline du Pré plays the cello concerto by Robert Schumann (1810-1856). She is accompanied by Leonard Bernstein and the New York Philharmonic Orchestra

Related articles

• Luigi Boccherini: Cello Concerto No.5 D major. G 478: great compositions/performances

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]

Valentina Lisitsa plays Chopin Variations Op 2 (1 and 2): great compositions/performances

[https://www.youtube.com/watch?v=AsG_YL-o9ZE[/embed]

Chopin Variations Op 2 (1 and 2) Valentina Lisitsa

  ValentinaLisitsa

Valentina Lisitsa, Black & Pink DVD.”La ci darem la mano”

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Chopin – Variations on “Là ci darem la mano” from Mozart’s Don Giovanni: great compositions/performances

Chopin – Variations on “Là ci darem la mano” from Mozart‘s Don Giovanni

   Fledermaus1990

Frédéric Chopin’s Variations on “Là ci darem la mano” for piano and orchestra, Op. 2, was written in 1827, when he was aged only 17. “Là ci darem la mano” is a duet sung by Don Giovanni and Zerlina, from Mozart’s opera Don Giovanni. It was one of the earliest manifestations of Chopin’s incipient genius. It inspired Robert Schumann‘s famous exclamation, Hats off, gentlemen! A genius!

The work was premiered on 11 August 1829 at the Vienna Kärntnertortheater, with Chopin as the soloist. It received very positive audience and critical acclaim.

The work is in B-flat major throughout, except for the Adagio of Variation 5, which is in the minor key.

– Introduction: Largo – Poco piu mosso 0:00
– Thema: Allegretto 5:20
– Variation 1: Brillante 6:53
– Variation 2: Veloce, ma accuratamente 7:52
– Variation 3: Sempre sostenuto 8:54
– Variation 4: Con bravura 10:20
– Variation 5: Alla Polacca 11:24

Horowitz plays Schumann Blumenstück (1966 live): great compositions/performances

Horowitz plays Schumann Blumenstück (1966 live)

  pianopera

Robert Schumann (1810-1856):
Blumenstück (Flower Piece) in D flat, Op. 19
Vladimir Horowitz (1903-1989), piano

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Martha Argerich plays Schumann: Kreisleriana, Op. 16: greaat compositions/performances

Martha Argerich plays Schumann: Kreisleriana, Op. 16

jgmfestvideos

***”Kreisleriana, Op.16: 7. Sehr Rasch”

***by Martha Argerich

***(Google Play • iTunes • AmazonMP3)
**********************************************

From Wikipedia, the free encyclopedia

Kreisleriana

Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. It was written in only four days in April 1838 and revised in 1852. The work was dedicated to Frédéric Chopin, but when a copy was sent to the Polish composer, “he commented favorably only on the design of the title page”.^[1] Kreisleriana is a very dramatic work and is considered to be one of Schumann’s finest compositions. Schumann himself often called it his favourite work.^[2]

	Kreisleriana, Op. 16 (1838) No. 1 “Äußerst bewegt“ No. 3 “Sehr aufgeregt“ No. 8 “Schnell und spielend“ All played by Giorgi Latso
Problems playing these files? See media help.

The work’s title, and possibly the basis for a depiction of psychological music-drama, was inspired by the character of Johannes Kreisler from works of E. T. A. Hoffmann. Like the kaleidoscopic Kreisler, each number has multiple contrasting sections, resembling the imaginary musician’s manic-depression, and recalling Florestan and Eusebius, the two imaginary characters of Schumann’s inner vision (representing his impulsive and dreamy sides, respectively). Johannes Kreisler appears in three books by Hoffmann, most notably in the Kreisleriana section of Fantasiestücke in Callots Manier, published in 1814.

Emil Gilels – Schumann – Symphonic Etudes, Op 13: Great compositions/performances

Emil Gilels – Schumann – Symphonic Etudes, Op 13

  Opus 13

Robert Schumann:  Symphonic Etudes, Op 13
Emil Gilels, piano
*****************************************************

From Wikipedia, the free encyclopedia

The Symphonic Etudes (French: Études Symphoniques), Op. 13, is a set of études for solo piano by Robert Schumann. It began in 1834 as a theme and sixteen variations on a theme by Baron von Fricken, plus a further variation on an entirely different theme by Heinrich Marschner.

Composition

The first edition in 1837 carried an annotation that the tune was “the composition of an amateur”: this referred to the origin of the theme, which had been sent to Schumann by Baron von Fricken, guardian of Ernestine von Fricken, the Estrella of his Carnaval Op. 9. The baron, an amateur musician, had used the melody in a Theme with Variations for flute. Schumann had been engaged to Ernestine in 1834, only to break abruptly with her the year after. An autobiographical element is thus interwoven in the genesis of the Études symphoniques (as in that of many other works of Schumann’s).^[1]

Of the sixteen variations Schumann composed on Fricken’s theme, only eleven were published by him. (An early version, completed between 1834 and January 1835, contained twelve movements). The final, twelfth, published étude was a variation on the theme from the Romance Du stolzes England freue dich (Proud England, rejoice!), from Heinrich Marschner‘s opera Der Templer und die Jüdin, which was based on Sir Walter Scott‘s Ivanhoe (as a tribute to Schumann’s English friend, William Sterndale Bennett). The earlier Fricken theme occasionally appears briefly during this étude. The work was first published in 1837 as XII Études Symphoniques. Only nine of the twelve études were specifically designated as variations. The sequence was as follows:

• Theme – Andante
• Etude I (Variation 1) – Un poco più vivo
• Etude II (Variation 2) – Andante
• Etude III – Vivace
• Etude IV (Variation 3) – Allegro marcato
• Etude V (Variation 4) – Scherzando
• Etude VI (Variation 5) – Agitato
• Etude VII (Variation 6) – Allegro molto
• Etude VIII (Variation 7) – Sempre marcatissimo
• Etude IX – Presto possibile
• Etude X (Variation 8) – Allegro con energia
• Etude XI (Variation 9) – Andante espressivo
• Etude XII (Finale) – Allegro brillante (based on Marschner’s theme).

Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius. In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world. ‘Florestan and Eusebius’ then signed the Davidsbündlertänze, Op. 6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan). In the 1837 version Florestan prevails.

Fifteen years later, in a second edition (Leipzig 1852), the 1837 title Études symphoniques became Études en forme de variations, two etudes (Nos. 3 and 9) that did not correspond to the new title (not being exactly variations) were eliminated, and some revisions were made in the piano writing.

The entire work was dedicated to Schumann’s English friend, the pianist and composer William Sterndale Bennett. Bennett played the piece frequently in England to great acclaim, but Schumann thought it was unsuitable for public performance and advised his wife Clara not to play it.

Later publication history

In 1861, five years after Schumann’s death, his father-in-law Friedrich Wieck published a third edition under the editorial pseudonym “DAS” (an acronym for Der alte Schulmeister). This edition attempted to reconcile the differences between the earlier two, and bore both the previous titles XII Études Symphoniques and Études en forme de variations.

On republishing the set in 1890, Johannes Brahms restored the five variations that had been cut by Schumann. These are now often played, but in positions within the cycle that vary somewhat with each performance; there are now twelve variations and these five so-called “posthumous” variations which exist as a supplement.

The five posthumously published sections (all based on Fricken’s theme) are:

• Variation I – Andante, Tempo del tema
• Variation II – Meno mosso
• Variation III – Allegro
• Variation IV – Allegretto
• Variation V – Moderato.

Orchestrations

Two sections, including the Allegro brillante, were orchestrated by Tchaikovsky, and have been recorded.^[3]

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Robert Schumann – Piano Concerto in A minor, Op.54: great compositions/performances

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

  jessiemelodyworld k

***Robert Schumann(8 June 1810 — 29 July 1856), Piano Concerto in A minor, Op.54

***Piano by Artur Rubinstein (January 28, 1887 — December 20, 1982) was a Polish-American classical pianist

* The Piano Concerto in A minor, Op. 54, is a famous Romantic concerto by Robert Schumann, completed in 1845.
His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to make the completed work. It turned out to be the only piano concerto that Schumann completed.

* Instrumentation
The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and a 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:
1. Allegro affettuoso
2. Andantino and Rondo
The three movement listing is the more common form used.

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.

Schumann – Symphony n°3, in E flat, Op.97 – Philharmonia Orchestra/ Carlo Maria Giulini: great compositions/performances

Schumann – Symphony n°3 – Philharmonia / Giulini

   incontrario motu
Robert Schumann

Symphony n°3 op.97 “Rhenish” (arr. Mahler)

I. Lebhaft 0:00
II. Scherzo. Sehr mässig 10:00
III. Nicht schnell 16:18
IV. Feierlich 21:37
V. Lebhaft 26:42

Philharmonia Orchestra
Carlo Maria Giulini
Studio recording, London, 3-4.VI.1958
**********************************************************

From Wikipedia, the free encyclopedia

The Symphony No. 3 in E-flat major, Op. 97, also known as the Rhenish, is the last symphony composed by Robert Schumann (1810–1856), although not the last published. It was composed from 2 November to 9 December 1850, and comprises five movements:

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

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 and strings. It premiered on 6 February 1851 in Düsseldorf, conducted by Schumann himself,^[1] and 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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Clara Haskil plays Schumann Kinderszenen Op. 15: unique musical moments

Clara Haskil plays Schumann Kinderszenen Op. 15

   gullivior
01. Von fremden Ländern und Menschen (Of Foreign Lands and Peoples)
02. Kuriose Geschichte (A Curious Story)
03. Hasche-Mann (Blind Man’s Bluff)
04. Bittendes Kind (Pleading Child)
05. Glückes genug (Happy Enough)
06. Wichtige Begebenheit (An Important Event)
07. Träumerei (Dreaming)
08. Am Kamin (At the Fireside)
09. Ritter vom Steckenpferd (Knight of the Hobbyhorse)
10. Fast zu ernst (Almost Too Serious)
11. Fürchtenmachen (Frightening)
12. Kind im Einschlummern (Child Falling Asleep)
13. Der Dichter spricht (The Poet Speaks)

(recorded in 1955)

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Ivo Pogorelich plays Schumann Toccata Op. 7: make music part of your life series

Ivo Pogorelich plays Schumann Toccata Op. 7

  truecrypt

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Chopin – Etude Op.25 No.11 (‘Winter Wind’) – Sviatoslav Richter – Video: Unique musical moments

Chopin – Etude Op.25 No.11 (‘Winter Wind‘) – Sviatoslav Rich

   ext271828

Chopin – Etude Op.25 No.11 (‘Winter Wind’) – Sviatoslav Richter – Video.avi

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Schumann – Symphony No 2 in C major, Op 61 – Harding: make music part of your life series

Schumann – Symphony No 2 in C major, Op 61 – Harding

  Opus 13

Robert Schumann
Symphony No 2 in C major, Op 61

1 Sostenuto assai – Allegro, ma non troppo
2 Scherzo. Allegro vivace
3 Adagio espressivo
4 Allegro molto vivace

Mahler Chamber Orchestra
Daniel Harding, conductor

London, Proms 2013

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Schumann: Études Symphoniques, Op. 13 (Emil Gilels, piano): great compositions/performances

Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]

   entre88teclas
– Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]
– http://www.entre88teclas.es/atdr/robe…

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Robert Schumann : Arabesque Op.18 in C Major, Piano – Thurzo Zoltan: make music part of your life series

Robert Schumann : Arabesque Op.18 in C Major

Robert Schumann : Arabesque Op.18 in C Major
Piano – Thurzo Zoltan
Recorded at the Partium University – Oradea -Romania
Video Mastering : Balajti Robert

from Wikipedia:

Oradea, mai demult Oradea Mare, (în maghiară Nagyvárad, în germană Großwardein, în idiș גרויסווארדיין Groysvardeyn, în latină Magnovaradinum

‎Cetatea Oradea – ‎Episcopia Bihor –

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• Clara Schumann

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

Schumann – Overture, Scherzo and Finale, Op. 52 (make music part of your life series)

Schumann – Overture, Scherzo and Finale, Op. 52

Overture, Scherzo and Finale, Op. 52.

The Hanover Band, on period instruments. Conducted by Roy Goodman. Composed by R. Schumann (1810-56).

I. Overture (0:00)
II. Scherzo (6:20)
III. Finale (10:48)

make music part of your life series: Robert Schumann Symphonic Studies (Etudes Symphoniques) op.13 (complete) Mehmet Okonsar,piano

[youtube.com/watch?v=K1OcyunBeCc]

Robert Schumann Symphonic Studies (Etudes Symphoniques) op.13 (complete)
Mehmet Okonsar, piano: 

” Happy to get you here!

In this channel, as an independent musician, I present all my recordings, the videos are actual recordings from the CD-recording sessions. I hope that you enjoy these.

Please write remarks when you. Also I’d be happy you share them.

I present all my work under the Creative Commons CC_BY license. That suggests you may share, duplicate, propagate all of them unreservedly and also create other works based upon on all of them as long as you credit me.
————————–
About the WORK:
ETUDES SYMPHONIQUES op.13
————————–
[from Wikipedia, read more: http://en.wikipedia.org/wiki/Symphoni…]
The first edition in 1837 carried an annotation that the tune was “the composition of an amateur”: this referred to the origin of the theme, which had been sent to Schumann by Baron von Fricken, guardian of Ernestine von Fricken, the Estrella of his Carnaval Op. 9. The baron, an amateur musician, had used the melody in a Theme with Variations for flute. Schumann had been engaged to Ernestine in 1834, only to break abruptly with her the year after. An autobiographical element is thus interwoven in the genesis of the Etudes Symphoniques (as in that of many other masterpieces of Schumann’s). * Theme – Andante * Etude I (Variation 1) – Un poco più vivo * Etude II (Variation 2) – Andante * Etude III – Vivace * Etude IV (Variation 3) – Allegro marcato * Etude V (Variation 4) – Scherzando * Etude VI (Variation 5) – Agitato * Etude VII (Variation 6) – Allegro molto * Etude VIII (Variation 7) – Sempre marcatissimo * Etude IX – Presto possible * Etude X (Variation 8) – Allegro con energia * Etude XI (Variation 9) – Andante espressivo * Etude XII (Finale) – Allegro brillante (based on Marschner’s theme).

Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius. In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world. ‘Florestan and Eusebius’ then signed the Davidsbündlertänze, Op. 6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan). In the 1837 version Florestan prevails.

Fifteen years later, in a second edition (Leipzig 1852), the 1837 title Etudes Symphoniques became Etudes en forme de variations, two studies (Nos. 3 and 9) that did not correspond to the new title (not being exactly variations) were eliminated, and some revisions were made in the piano writing.

The entire work was dedicated to Schumann’s English friend, the pianist and composer William Sterndale Bennett. Bennett played the piece frequently in England to great acclaim, but Schumann thought it was unsuitable for public performance and advised his wife Clara not to play it.
————————–
About the Artist:

Mehmet Okonsar is a pianist-composer-conductor and musicologist. Besides his international concert carrier he is a prolific writer. Founder of the first classical music-musicology dedicated blog-site:”inventor-musicae” (http://www.inventor-musicae.com) as well as the first classical-music video portal : http://www.classicalvideos.net. Okonsar homepage: http://www.okonsar.com.

 

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great compositions/performances: Schumann – Symphony No 1 in B flat major “Spring”, Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

[youtube.com/watch?v=yp3OixIiJV0]

Schumann – Symphony No 1 in B flat major “Spring” Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

great compositions/performances:  Schumann – Symphony No 1 in B flat major “Spring”, Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

great compositions/performances:  Schumann – Symphony No 1 in B flat major “Spring”, Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

 

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make music part of your life series: Horowitz plays Schumann Toccata in C Major, Op.7

[youtube.com/watch?v=0oHAvmvmYUo]

Horowitz plays Schumann Toccata in C Major, Op.7

 

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great compositions/performances: Clara Haskil plays Schumann Waldszenen

[youtube.com/watch?v=0ERADxHQQDE]

Clara Haskil plays Schumann Waldszenen

Robert Schumann (1810-1856):
Waldszenen (Forest Scenes) opus 82 (1848/49)
1. Eintritt (Entrance) at 0:17
2. Jäger auf der Lauer (Hunter in Ambush) 01:59
3. Einsame Blumen (Lonely Flowers) 03:12
4. Verrufene Stelle (Haunted Spot) 05:16
5. Freundliche Landschaft (Pleasant Landscape) 07:42
6. Herberge (Wayside Inn) 08:40
7. Vogel als Prophet (Bird as Prophet) 10:24
8. Jagdlied (Hunting Song) 13:26
9. Abschied (Farewell) 15:43

Clara Haskil (1895-1960), piano
Recorded in 1947

Artwork: paintings of various German Romantic painters.

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GreatCompositions/Performances: Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]

[youtube.com/watch?v=OX7ezWwUSjg]

Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]

– Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]
– http://www.entre88teclas.es/atdr/robe…

 

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• Sviatoslav Richter, 1976: Beethoven’s Piano Sonata No. 1 in F minor, Op. 2, No. 1
• Beethoven / Gilels / Szell, 1968: Piano Concerto No. 4 in G major, Op. 58 ( Best musical shivers ever?)

Great Compositions/Performances: Schumann Kreisleriana op.16 – Phantasien für das Pianoforte – Enrica Ciccarelli

[youtube.com/watch?v=VSDHyt90cQA]

Schumann Kreisleriana op.16 – Phantasien für das Pianoforte – Enrica Ciccarelli

Robert Schumann Kreisleriana op.16 Phantasien für das Pianoforte – Enrica Ciccarelli

Download Enrica’s cd “Visioni”: http://www.amazon.it/dp/B00CXL39U2

Buy “visioni” on GooglePlay: https://play.google.com/store/music/a…

Facebook: http://www.facebook.com/PianistaEnric…

Twitter: http://www.twitter.com/EnricaPianist

Website: http://www.enricaciccarelli.com

Sfem Classics on Youtube: http://www.youtube.com/user/sfemclassic

Listen to all the extracts from “Visioni”: http://www.youtube.com/playlist?featu…

SFEM and Enrica Ciccarelli were originally brought together by a shared passion for music and uncompromising quality: this is the basis of their artistic marriage.

The resulting project, involving SFEM’s Team and italian Pianist Enrica Ciccarelli kicked off in 2011 and aims to reissue some of Enrica’s earlier recordings, as well as new ones, especially arranged for this series and coproduced by Musicassoluta.

Since May 2013, when the project was officially presented at La Scala Shop in Milan, the first two recordings are available in shops and on Amazon.

This is an extrat from “Visioni”.
The two sections of this cd are entirely different and yet connected.

Schumann’s Kreisleriana is the musical expression of a delirious world of madness and desperate obsessions, hallucinations and shattered emotions. Imprisoned by the sheer force of its own genius, the composer’s mind swings wildly between opposite extremes, at times feverish or resigned, dreamy or terrified, tormented by nightmarish visions.

Mussorgsky‘s Pictures at an Exhibition are not as frightening or intimidating and yet they are vivid images that come to life in music These images, though, are more firmly rooted in the real world. Hartmann’s drawings provided the inspiration for this collection: Mussorgsky shaped them into sound, conjuring up an exhibition of musical portraits. Visual perceptions occasion intimate reflections on life, death and art.

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

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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• Robert Schumann – KINDERSZENEN Op.15, by Vadim Chaimovich

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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GREAT COMPOSITIONS/PERFORMANCES: Sviatoslav Richter PLAYS Schumann – Etudes symphoniques op 13 – Richter studio

[youtube.com/watch?v=dZgRtiWsN9E]

Schumann – Etudes symphoniques op 13 – Richter studio

Robert Schumann
Etudes symphoniques op.13
Sviatoslav Richter
Studio recording, Salzburg, 1-3, 6, 7,14,15 & 24.IX.1971

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MAKE MUSIC PART OF YOUR LIFE SERIES: Chopin – Variations on “Là ci darem la mano” from Mozart’s Don Giovanni

[youtube.com/watch?v=8dbGJJrshoU]

Chopin – Variations on “Là ci darem la mano” from Mozart‘s Don Giovanni

Frédéric Chopin’s Variations on “Là ci darem la mano” for piano and orchestra, Op. 2, was written in 1827, when he was aged only 17. “Là ci darem la mano” is a duet sung by Don Giovanni and Zerlina, from Mozart’s opera Don Giovanni. It was one of the earliest manifestations of Chopin’s incipient genius. It inspired Robert Schumann‘s famous exclamation, Hats off, gentlemen! A genius!

The work was premiered on 11 August 1829 at the Vienna Kärntnertortheater, with Chopin as the soloist. It received very positive audience and critical acclaim.

The work is in B-flat major throughout, except for the Adagio of Variation 5, which is in the minor key.

– Introduction: Largo – Poco piu mosso 0:00
– Thema: Allegretto 5:20
– Variation 1: Brillante 6:53
– Variation 2: Veloce, ma accuratamente 7:52
– Variation 3: Sempre sostenuto 8:54
– Variation 4: Con bravura 10:20
– Variation 5: Alla Polacca 11:24

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]

Legendary Performances: Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)

[youtube.com/watch?v=vk8AtH0t2BU]

 

Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)

 

Wilhelm Furtwängler conducts the Symphonies of Robert Schumann
Legendary Recordings LR002
Download this CD here- http://www.abbajustlikethat.comyr.com…
Robert Schumann – Symphony No. 4 in D minor Op. 120 (Revised 1851 version)
1. First Movement – Ziemlich langsam – Lebhaft 11:51
2. Second Movement – Romanze: Ziemlich langsam 05:20
3. Third Movement – Scherzo: Lebhaft 05:55
4. Fourth Movement – Langsam; Lebhaft 8:01
Berlin Philharmonic Orchestra conducted by Wilhelm Furtwängler
Studio Recording, Berlin, May 14, 1953

Restoration notes –

Portrait of Wilhelm Furtwängler by Emil Orlik (Photo credit: Wikipedia)

Widely considered to be the greatest recording of Schumann’s 4th symphony ever made, it is quite fortunate then that the original audio was quite good to begin with. I focused on reducing the harsh edge on the violins, trying to make them sound more natural, and giving a more rounded sound to the orchestra. The result is fantastic.

Audio Restored and Remastered by Rudolf Ondrich, 12-13 October 2012.

 

 

 

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JOHANNES BRAHMS – 7 WALTZES OP. 39: JOHANNES BRAHMS – 7 WALTZES OP. 39 Performed by Dinu Lipatti, Nadia Boulanger

JOHANNES BRAHMS – 7 WALTZES OP. 39
Performed by Dinu Lipatti, Nadia Boulanger

1. Waltz for Four Hands in C-Sharp Major, No. 6, Op. 39 00:00
2. Waltz for Four Hands in A-Flat Major, No. 15, Op. 39 00:58
3. Waltz for Four Hands in E Major, No. 2, Op. 39 2:04
4. Waltz for Four Hands in B Major, No. 1, Op. 39 3:19
5. Waltz for Four Hands in G-Sharp Minor, No. 14, Op. 39 4:07
6. Waltz for Four Hands in G Major, No. 10, Op. 39 5:15
7. Waltz for Four Hands in E Major, No. 5, Op. 39 5:47

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Schumann – Overture, Scherzo and Finale, Op. 52

Overture, Scherzo and Finale, Op. 52. 

The Hanover Band, on period instruments. Conducted by Roy Goodman. Composed by R. Schumann (1810-56). 

I. Overture (0:00)
II. Scherzo (6:20)
III. Finale (10:48)

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Great Compositions/Performances: Franz Liszt: Liebeslied S 566 (Schumann: Widmung)

[youtube.com/watch?v=9GJfWGvQsxs]

Franz Liszt: Liebeslied S 566 (Schumann: Widmung)

Lang Lang

Berlin, April 28, 2011
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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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