Martha Argerich Schumann – Kinderszenen (Scenes from Childhood) Op. 15
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: Études Symphoniques Op. 13 [Emil Gilels, piano]
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
Overture, Scherzo and Finale, Op. 52.
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.
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.
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…
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.
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.
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
Etudes symphoniques op.13
Studio recording, Salzburg, 1-3, 6, 7,14,15 & 24.IX.1971
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 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
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.
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 –
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.
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