Tag Archives: schumann

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


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

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


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

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

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

Chopin Schumann Etudes Recording Lisitsa


Chopin Schumann Etudes Recording Lisitsa

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


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

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


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


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

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


Schumann – Wilhelm Kempff (1972) Waldszenen op 82

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)
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Schumann – Theme And Variations On The Name ‘Abegg’ (Evgeny Kissin),: great compositions/performnces


Schumann – Theme And Variations On The Name ‘Abegg’ (Evgeny Kissin)

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


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


Emil Gilels – Schumann – Symphonic Etudes, Op 13

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


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

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

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


Schumann – Symphony n°3 – Philharmonia / Giulini

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

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


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.

 

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)

Fabulous musical moments 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)

 

HISTORIC MUSICAL MOMENTS: Clara Haskil: Schumann – ‘Abegg’ Variations, Op. 1


[youtube.com/watch?v=UqOvdlthl8E]

Clara Haskil: Schumann – ‘Abegg’ Variations, Op. 1

Clara Haskil (7 January 1895 – 7 December 1960) was a Romanian classical pianist, renowned as an interpreter of the classical and early romantic repertoire. Haskil was particularly noted for her performances and recordings of Mozart. Many considered her the foremost interpreter of Mozart in her time. She was also noted as a superb interpreter of Beethoven, Schumann, and Scarlatti. Haskil was born into a Sephardic Jewish family in Bucharest, Romania and studied in Vienna under Richard Robert (whose memorable pupils also included Rudolf Serkin and George Szell) and briefly with Ferruccio Busoni. She later moved to Paris, where she started studying with Gabriel Fauré’s pupil Joseph Morpain, whom she always credited as one of her greatest influences. The same year she entered the Paris Conservatoire, officially to study with Alfred Cortot although most of her instruction came from Lazare Lévy and Mme Giraud-Letarse, and graduated at age 15 with a Premier Prix. She also graduated with a Premier Prix in violin. Upon graduating, Haskil began to tour Europe, though her career was cut short by one of the numerous physical ailments she suffered throughout her life. In 1913 she was fitted with a plaster cast in an attempt to halt the progression of scoliosis. Frequent illnesses, combined with extreme stage fright that appeared in 1920, kept her from critical or financial success. Most of her life was spent in abject poverty. It was not until after World War II, during a series of concerts in the Netherlands in 1949, that she began to win acclaim. Well regarded as a chamber musician, Haskil collaborated with such famed musicians as George Enescu, Eugène Ysaÿe, Pablo Casals, Joseph Szigeti, Géza Anda, Isaac Stern and Arthur Grumiaux, with whom she played her last concert. While renowned primarily as a violinist, Grumiaux was also a fine pianist, and he and Haskil would sometimes swap instruments. She played as a soloist under the baton of such conductors as Ansermet, Barbirolli, Baumgartner, Beecham, Boult, Celibidache, Cluytens, Fricsay, Giulini, Inghelbrecht, Jochum, Karajan, Kempe, Klemperer, Kubelík, Markevitch, Monteux, Münch, Paray, Rosbaud, Sawallisch, Solti, Stokowski, Szell, among many others. One of her most prominent performances as a soloist with an orchestra is recording of Mozart’s Piano Concertos Nos. 20 and 24 in November 1960 with Orchestre des Concerts Lamoureux conducted by Igor Markevitch (issued on CD by Philips Classics under No. 464 718-2); this recording features an unusually slow, pensive performance of K466’s part III and a very subtle, highly lyrical and yet, in some way, vigorous playing of K491’s part II. Haskil died from injuries received through a fall at the staircase of a Brussels train station. She was to play a concert with Arthur Grumiaux the following day. An esteemed friend of Haskil, Charles Chaplin, described her talent by saying “In my lifetime I have met three geniuses; Professor Einstein, Winston Churchill, and Clara Haskil. I am not a trained musician but I can only say that her touch was exquisite, her expression wonderful, and her technique extraordinary.” (Swiss Radio interview, 19 April 1961.) The Clara Haskil International Piano Competition is held biannually in her memory. The brochure reads: “The Clara Haskil Competition was founded in 1963 to honour and perpetuate the memory of the incomparable Swiss pianist, of Romanian origin, who was born in Bucharest in 1895. It takes place every two years in Vevey, Switzerland, where Clara Haskil resided from 1942 until her death in Brussels in 1960. A street in Vevey bears her name. The Competition welcomes young pianists from all over the world, who pursue the musical ideal that is inspired by Clara Haskil and which will always remain exemplary.”… http://en.wikipedia.org/wiki/Clara_Ha…

A link to this wonderful artists personal Website: http://www.deccaclassics.com/cat/sing…

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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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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


[youtube.com/watch?v=Aq8LDUCw6sg]

Schumann Kinderszenen Op 15 – Valentina Lisitsa Haskil Argerich Horowitz Bosendorfer

 

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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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

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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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
Related articles

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Great Compositions/Performances: Horowitz plays Schumann Toccata in C Major, Op.7



Robert Schumann 
Toccata in C Major, Op.7 
Vladimir Horowitz: piano

 

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Great Composers/Compositions: Robert Schumann Symphony No 3 E flat major Rhenish Rheinische Sinfonie David Zinman Tonhalle Zurich



Robert Schumann Symphony No 3 E flat major Rhenish Rheinische Sinfonie David Zinman Tonhalle Zurich

From Wikipedia, the free encyclopedia

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

  1. Lebhaft (Lively)
  2. Scherzo: Sehr mäßig (Scherzo) (in C major)
  3. Nicht schnell (not fast) (in A-flat major)
  4. Feierlich (Solemn) (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♭, threetrombonestimpani and strings. Its premiere on February 6, 1851 in Düsseldorf, conducted by Schumann himself,[1] was received with mixed reviews, “ranging from praise without qualification to bewilderment”. However according to Peter A. Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting “hurrah!”.[2]

Biographical context

Throughout his life, Schumann explored a diversity of musical genres, including chambervocal, and symphonic music. Although Schumann wrote an incomplete G minor symphony as early as 1832-33 (of which the first movement was performed on two occasions to an unenthusiastic reception),[3]he only began seriously composing for the symphonic genre after receiving his wife’s encouragement in 1839.[4] Schumann gained quick success as a symphonic composer following his orchestral debut with his warmly-received First Symphony, which was composed in 1841 and premiered in Leipzig with Felix Mendelssohn conducting. By the end of his career Schumann had composed a total of four symphonies. Also in 1841 he finished the work which was later to be published as his Fourth Symphony. In 1845 he composed his C major Symphony, which was published in 1846 asNo. 2, and, in 1850, his Third Symphony. Therefore, the published numbering of the symphonies is not chronological. The reasoning for the “incorrect” numerical sequencing of the symphonies is because his Fourth Symphony was originally completed in 1841, but it was not well received at its Leipzig premiere. The lukewarm reception caused Schumann to withdraw the score and revise it ten years later in Düsseldorf. This final version was published in 1851 after the “Rhenish” Symphony was published

Genesis

The same year that Schumann composed his Third Symphony, he completed his Cello Concerto op. 129 which was published four years later. Schumann was inspired to write this symphony after a trip to the Rhineland with his wife. This journey was a happy and peaceful trip with Clara which felt to them as if they were on a pilgrimage.[5] As a result of this trip, he incorporated elements of his journey and portrayed other experiences from his life in the music. The key of the symphony has been connected to Bach’s idea of E flat major and the Holy Trinity.[6]

 

 

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Fabulous Composers/Compositions: 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 –

Wilhelm Furtwängler (timbre Berlin-Ouest / Bri...

Wilhelm Furtwängler (timbre Berlin-Ouest / Briefmarke Westberlin) (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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Robert Schumann: Cello Concerto op.129 – Mario Brunello



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

 

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



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

 

Schumann – Kreisleriana op.16 – Sehr aufgeregt, G minor – Enrica Ciccarelli



Robert Schumann – Kreisleriana op.16 – Sehr aufgeregt, G minor – Enrica Ciccarelli

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

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

Facebookhttp://www.facebook.com/PianistaEnric…

Twitterhttp://www.twitter.com/EnricaPianist

Website: http://www.enricaciccarelli.com

Sfem Classics on Youtubehttp://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.

 

Dvorak – Piano Quintet No.2 in A, Op.81



[Verbier 2013]
Yuri Bashmet
Vilde Frang
Daniil Trifonov
Renaud Capuçon
Gautier Capuçon

 
 Antonín Dvořák‘s Piano Quintet No. 2 in A major, Op. 81, B. 155, is a quintet for piano, 2 violinsviola, and cello. It was composed between August 18 and October 8 of 1887, and was premiered in Prague on January 6, 1888. The quintet is acknowledged as one of the masterpieces in the form, along with those of Schubert,SchumannBrahms and Shostakovich.[1]

The music has four movements:

  1. Allegro, ma non tanto
  2. DumkaAndante con moto
  3. Scherzo (Furiant): molto vivace
  4. Finale: Allegro.

 

 

Horowitz – Schumann Traumereï (Kinderszenen)



1978 Vladimir Horowitz TV concert from the White House.

1. Horowitz, The Star-Spangled Banner
2. Chopin, Sonata n°2 in B flat minor
3. Chopin, Waltz op. 34 n°2 in A minor
4. Chopin, Waltz op. 64 n°2 in C sharp minor
5. Chopin, Polonaise op. 53 in A flat major

1st encore: Schumann, Traumereï from Kinderszenen
2nd encore: Rachmaninoff, Polka de W.R. in A flat major
3rd encore: Horowitz, Variations on a theme from Bizet‘s Carmen

 

Arrau Schumann Piano Concerto in A minor, Op. 5



Piano Concerto in A minor, Op. 54

1.- Allegro Affettuoso
2.- Intermezzo: Andantino Grazioso
3.- Allegro Vivace

Film footage recorded in 1963

Robert Schumann (1810-1856)
Claudio Arrau (1903-1991)

Robert Schumann – Piano Quintet opus 44 – Ensemble Syntonia



NEWS : Nouvelle vidéo de Syntonia sur Arte Live Web !http://liveweb.arte.tv/fr/video/Salon…

Robert Schumann – Quintette avec piano en mi b Majeur opus 44
1. Allegro Brillante
2. In modo d’una marcia. Un poco largamente
3. Scherzo : Molto vivace
4. Finale : Allegro ma non troppo

Ensemble Syntonia
Pascal Oddon, Mathieu Godefroy, violons
Anne-Aurore Anstett, alto
Patrick Langot, violoncelle
Romain David, piano

Enregistré en 2001 à La Roque d’Anthéron, lors du Festival International de Piano.

http://www.ensemblesyntonia.com

Pour acheter le disque : 
http://www.abeillemusique.com/CD/Clas…

 

J.S. Bach – Harpsichord or (Organ) Concerto in d minor, BWV 1059 / Ton Koopman, organ



Johann Sebastian Bach (1685~1750)
Konzert für Clavier, Streicher und Basso Continuo d-moll, BWV 1059
(incomplete work, revision by Ton Koopman version)
I. Sinfonia (from cantata, BWV 35: Sinfonia) – 00:00
II. Aria (from cantata, BWV 35: “Gott hat alles wohlgemacht”) – 05:18
III. Sinfonia: presto (from cantata, BWV 35: Second Sinfonia) – 08:59
Ton Koopman (orgel)
Ku Ebbinge (oboe da caccia)
The Amsterdam Baroque Orchestra
Ton Koopman (conductor)
*Clavier(Keyboard): harpsichord, clavichord, claviorganum, or organ etc.* 
 Concerto in d minor, BWV 1059 (incomplete) – 

Fragment consisting of 9 bars(only the first 9 bars survive in Bach’s own hand). Taken from the opening Sinfonia of the Cantata, BWV 35 “Geist und Seele wird verwirret” (1726) In the cantata, Bach uses an obbligato organ not only in the two sinfonias (which evidently form the first and last movements of a lost instrumental concerto, possibly for Oboe) but also in the aria No. 1, whose siciliano character likewise points to its original function as a concerto movement. Bach intended to write this out as a harpsichord concerto but abandoned the endeavor after only 9 bars. Continue reading

Angela Gheorghiu – Ave Maria – Bucuresti 2004



Latin 

Ave Maria, gratia plena,
Dominus tecum,
benedicta tu in mulieribus,
et benedictus fructus ventris tui Iesus.
Sancta Maria mater Dei,
ora pro nobis peccatoribus, nunc, et in hora mortis nostrae.
Amen

English

Hail Mary, full of grace,
our Lord is with thee,
blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, mother of God,
pray for us sinners, now, and in
the hour of our death.
Amen.

French

Je vous salue, Marie, pleine de grâce.
Le Seigneur est avec vous.
Vous êtes bénie entre toutes les femmes,
et Jésus, le fruit de vos entrailles, est béni.
Sainte Marie, Mère de Dieu,
Priez pour nous, pauvres pécheurs,
maintenant et à l’heure de notre mort.
Amen

Cree

Kit’atamiskâtin Marie, siyâkaskineskâkuyan Manito o sâkihituwin, kitehîk ayâw Kise-Manito. Ispitchi kakkiyaw iskwewok kiya ayiwâk kit’iteyittâkusin ayiwâk mina iteyittâkusin Jesus ka ki kikiskawat.
Kitchitwa Marie Kise-Manito Wekâwimisk ayamihestamâwinân, piyâstâhuyâk, anotch mina wi nipiyâki. Pitane ekusi ikkik.
Amen

German

Gegrüßet seist du, Maria, voll der Gnade,
der Herr ist mit dir.
Du bist gebenedeit unter den Frauen, und gebenedeit ist die Frucht deines Leibes, Jesus. Heilige Maria,
Mutter Gottes,
bitte für uns Sünder jetzt und in der Stunde
unseres Todes.
Amen 

Spanish

Dios te salve, María, llena eres de gracia,
el Señor es contigo.
Bendita tú eres entre todas las mujeres,
y bendito es el fruto de tu vientre, Jesús.
Santa María, Madre de Dios,
ruega por nosotros, pecadores,
ahora y en la hora de nuestra muerte.
Amen

Italian

Ave Maria, piena di grazia,
il Signore è con te.
Tu sei benedetta fra le donne
e benedetto è il frutto del tuo seno, Gesú.
Santa Maria, Madre di Dio,
prega per noi peccatori,
adesso e nell’ora della nostra morte.
Amen

Portuguese

Avé Maria, cheia de graça,
o Senhor é convosco.
Bendita sois vós entre as mulheres;
bendito é o fruto do vosso ventre, Jesus.
Santa Maria, mãe de Deus,
rogai por nós, pecadores,
agora e na hora da nossa morte.
Amen

Tagalog

(Phillipines) Aba Ginoong Maria, napupuno ka ng grasiya,
Ang Panginoong Diyos ay sumasaiyo.
Bukod kang pinagpala sa babaeng lahat
At pinagpala rin naman ang anak mong si Hesus.
Santa Maria, Ina ng Diyos
Ipanalangin mo kaming makasalanan
Ngayon at kung kami’y mamamatay.
Amen

Indonesian

Salam Maria penuh rahmat Tuhan besertamu,
Terpujilah engkau diantara wanita,
dan terpujilah buah tubuhmu Yesus,
Santa Maria Bunda Allah,
Doakanlah kami yang berdosa ini,
sekarang dan selama-lamanya.
Amin

Dutch

Wees gegroet, Maria, vol van genade.
de Heer is met u.
Gij zijt de gezegende onder de vrouwen,
en gezegend is Jezus, de vrucht van uw schoot.
Heilige Maria, Moeder van God.
Bid voor ons zondaars,
nu en in het uur van onze dood.
Amen

Finnish

Terve, Maria, armoitettu,
Herra sinun kanssasi;
Siunattu sinä naisten joukossa ja
siunattu kohtusi hedelmä Jeesus.
Pyhä Maria, Jumalan äiti,
rukoille meidän syntisten puolesta
nyt ja kuolemamme hetkellä.
Aamen

 

Robert Schumann: Toccata in C major, Op. 7



Robert Schumann: Toccata in C major, Op. 7
Piano: Mauro Bertoli
Venue: Piano Festival 2009

SCHUMANN – Introduction and Allegro Appassionato in G major Op. 92


Schumann, Overture, Scherzo and Finale, Op.52



Robert SCHUMANN
Overture, Scherzo and Finale, Op.52
1. Overture – 00.05
2. Scherzo – 07.13
3. Finale – 11.30

Sinfonietta Sofia Orchestra conducted by Christo Pavlov
New Concert Hall, 01 Oct 2011
Sofia, Bulgaria

Claudio Arrau Schumann Waldszenen 9 Abschied Op. 82


Claudio Arrau Schumann Waldszenen 9 Abschied Op. 82

Schumann – Des Abends – Enrica Ciccarelli



Schumann – Fantasiestücken op. 12 – Des Abends – Enrica Ciccarelli

Facebookhttp://www.facebook.com/PianistaEnric

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

Website: http://www.enricaciccarelli.com

Sfem Classics on Youtubehttp://www.youtube.com/user/sfemclassic

Listen to all the extracts from Enrica’s cd”A Portrait”:http://www.youtube.com/watch?v=P2z9m0…

This song was performed live as an encore.