Robert Schumann 8 Noveletten, Opp. 21 Videos
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2024-04-16
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Dino Ciani Schumann Alfred Cortot Liszt Bartók Pleyel Claudio Abbado Beethoven Prokofiev Riccardo Muti Weber Schubert Chopin Debussy Thomas Schippers John Barbirolli Gianandrea Gavazzeni Carlo Maria Giulini Claudio Desderi Salle Pleyel Carnegie Hall Teatro Scala Chicago Philharmonic 1941 1958 1961 1962 1967 1968 1970 1972 1974
Dino Ciani (June 16, 1941 – March 28, 1974) was an Italian pianist. Ciani was born in Fiume (now Rijeka in Croatia) and studied piano with Martha Del Vecchio in Genoa. He obtained his diploma at the Conservatory in Rome at the age of 14 and later, from 1958 to 1962, attended the advanced courses of Alfred Cortot, whom he greatly revered, in Paris, Lausanne and Siena. Cortot described Ciani in most enthusiastic terms: "miraculously gifted ... one of the most remarkable examples of the rarest talents one could hope to find". Ciani's career begun when he won second prize at the Liszt-Bartók Competition in Budapest in 1961. The venues in which he performed included Salle Pleyel, Carnegie Hall and Chicago Philharmonic, Kennedy Center. He made his debut at Teatro alla Scala under the baton of Claudio Abbado with Beethoven's Fourth Piano Concerto in 1968. With Abbado he also performed Prokofiev's Fifth Piano Concerto in 1968 at RAI Auditorium in Rome (then also at La Scala) and Mozar's D minor Concerto at the Salzburger Mozarteum. Ciani also played with the young Riccardo Muti Beethoven's Choral Fantasy at La Scala and the Second Piano Concerto by Bartók at Milan RAI. His repertoire was broad and diverse for a pianist of his age. It encompassed the complete sonatas of Beethoven, works by Weber (he was the first to record the complete sonatas, in 1967), Schubert, Schumann, Chopin, Debussy and Bartók. His recordings for Deutsche Grammophon of the complete Debussy Préludes (1972), Schumann's Novelettes (1968) and Weber's second and third piano sonatas (1970) are particularly renowned. He collaborated with such conductors as Claudio Abbado, Riccardo Muti, Thomas Schippers, John Barbirolli, Gianandrea Gavazzeni and Carlo Maria Giulini. Among his last concerts were renditions of the complete set of Chopin's Nocturnes and Schubert's Winterreise with baritone Claudio Desderi. His final live performance was Beethoven's Third Concerto with Giulini in Chicago. Ciani was killed in a road accident in Rome at the age of 32. Wikipedia)
Robert Schumann Yves Nat Ritter Eugène Bigot Bigot Alfred Cortot Clara Haskil Honore 1810 1856 1930 1933 1938 1950 1951 1952 1954 1955 2017
Robert Schumann +••.••(...)) - Complete Legendary Recordings by Master Yves NAT. Listen to our latest mastering update: (http•••) Qobuz (http•••) Deezer (http•••) Amazon Music (http•••) Amazon Store (http•••) Spotify (http•••) Apple Music (http•••) Tidal (http•••) Youtube Music (http•••) LineMusic日本 (http•••) Awa日本 (http•••) Napster, Pandora, SoundCloud, Anghami, QQ音乐 … *Click to activate the English subtitles for the presentation* (00:00-03:02) Papillons Op.2 (1954) Introduction (00:00) - no.1 (00:09) - no.2 (00:47) - no.3 (01:05) no.4 (01:47) - no.5 (02:31) - no.6 (03:47) - no.7 (04:42) no.8 (05:11) - no.9 (06:13) - no.10 (06:56) - no.11 (08:33) no.12 (10:59) Faschingschwank aus Wien / Carnaval de Vienne Op.26 (1938) 1. Allegro (12:51) - 2. Romanze (20:55) 3. Scherzino (23:06) - 4. Intermezzo (25:02) 5. Final (27:11) Etudes symphoniques, Op.13 (1952) Thema (31:38) - Variation I (33:09) - Variation II (34:21) Variation III (37:40) - Variation IV (38:59) Variation V (39:59) Variation VI (40:59) - Variation VII (41:56) - Variation VIII (42:47) Variation IX (44:31) - Variation X (45:12) - Variation XI (46:34) Finale_Variation XII (49:07) Kinderszenen Op. 15 (version 1952) No 1 Von fremden Landern und Menschen (54:54) - No 2 Kuriose Geschichte (56:22) No 3 Hasche-Mann (57:12) - No 4 Bittendes Kind (57:41) - No 5 Glückes genug (58:24) No 6 Wichtige Begebenheit (59:38) - No 7 Träumerei (1:00:23) - No 8 Am Kamin (1:03:00) No 9 Ritter vom Steckenpferd (1:03:46) - No 10 Fast zu ernst (1:04:07) No 11 Furchtenmachen (1:05:49) - No 12 Kind im Einschlummern (1:07:15) No 13 Der Dichter spricht (1:08:56) Humoreske in B flat, Op.20 (1955) Einfach (1:10:56) - Hastig (1:15:59) - Einfach und zart (1:20:24) - Innig (1:24:04) Sehr lebhaft (1:26:04) - Finale (1:29:41) Fantasiestücke Op.12 (1955) 1. Des Abends (1:35:08) - 2. Aufschwung (1:38:53) - 3. Warum (1:42:01) - 4. Grillen (1:44:21) 5. In Der Nacht (1:47:16) - 6. Fabel (1:51:1) - 7. Traumeswirren (1:54:06) 8. Ende Vom Lied (1:56:31) Fantasy in C, Op.17 (1952) 1 Durchaus phantastisch und leidenschaftlich vorzutragen (2:01:05) 2 Mäßig. durchaus energisch (2:12:49) 3 Langsam getragen. Durchweg leise zu halten (2:20:00) Kreisleriana Op.16 (1951) I. Agitato Assai (2:29:56) - II. Intimissimo E Non Troppo Allegro (2:32:37) III. Molto Agitato (2:39:33) - IV. Lento (2:44:04) - V. Vivace (2:47:13) - VI. Lento Assai (2:50:04) VII. Vivace (2:53:44) - VIII. Vivo E Giocoso (2:55:41) Trois Romances Op.28 (1952) No.1 En Si Bémol Mineur (2:58:58) No.2 En Fa Dièse Majeur (3:03:05) No.3 En Si Majeur (3:06:46) Noveletten Op.21 (1950) No.1 In F Major (3:12:39) - No.2 In D Major (3:17:41) - No.3 In D Major (3:23:44) No.4 In D Major (3:28:01) - No.5 In D Major (3:31:22) - No.6 In A Major (3:39:41) No.7 In E Major (3:43:58) - No.8 In F-Sharp Minor (3:47:09) Toccata In C Major Op.7 - 1952 (3:57:19) Arabeske in C major Op.18 - 1952 (4:03:07) Kinderszenen Op. 15 (version 1930) No 1 Von fremden Landern und Menschen (4:08:00) - No 2 Kuriose Geschichte (4:08:48) No 3 Hasche-Mann (4:09:38) - No 4 Bittendes Kind (4:10:04) - No 5 Glückes genug (4:10:45) No 6 Wichtige Begebenheit (4:11:22) - No 7 Träumerei (4:11:58) - No 8 Am Kamin (4:13:54) No 9 Ritter vom Steckenpferd (4:14:26) - No 10 Fast zu ernst (4:14:47) No 11 Furchtenmachen (4:15:38) - No 12 Kind im Einschlummern (4:16:50) No 13 Der Dichter spricht (4:18:19) Piano Concerto in A minor Op.54 (Orchestre Symphonique / Eugène Bigot - 1933) I. Allegro affetuoso (4:19:59) - II. Intermezzo. Andantino grazioso (4:34:48) III. Allegro vivace (4:39:24) Piano : Yves NAT Recorded in 1930-55 New Mastering in 2017 by AB for CMRR FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) ️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••) *COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.* Voici l’intégrale des enregistrements mythiques d’Yves Nat, qui reste avec Alfred Cortot et Clara Haskil l’interprète Schumannien le plus sensible, le plus émouvant que le XXe siècle ait connu. On reste bouleversé en écoutant ces messages qu'il nous adresse. L’homme déclarait : « Il faut s’oublier totalement afin que la musique se ressouvienne ». Ces enregistrements sont le témoignage d’un homme, d’un interprète de très haut lignage au seul service de son art et du compositeur qu’il honore et dont il a percé, comme peu, la plus sincère vérité. Beethoven by Yves Nat - Complete Piano Sonatas (reference recording): (http•••) Robert Schumann PLAYLIST (reference recordings) (http•••)
Robert Schumann Reine Gianoli Rasch Clara Wieck Paganini Lustig Adès 1810 1856 1974
️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••) Robert Schumann +••.••(...)) - Complete Piano Works 2/2. Legendary Recording by the Teacher Reine Gianoli. Humoresque Op.20 (00:00) *Click to activate the English subtitles for the presentation* (00:00-00:55) Fantasiestücke Op.12 *Click to activate the English subtitles for the presentation* (27:45-29:30) 1.Des Abends (27:45) 2.Aufschwung (32:34) 3.Warum (36:05) 4.Grillen (39:11) 5.In Der Nacht (42:37) 6.Fabel (47:03) 7.Traumes Wirren (49:52) 8.Ende Vom Lied (52:37) Gesänge Der Frühe Op.133 1.Im Ruhigen Tempo (58:27) 2.Belebt, Nicht Zu Rasch (1:01:28) 3.Lebhaft (1:03:36) 4.Bewegt (1:05:59) 5.Im Anfange Ruhiges, Im Verlauf Bewegtes Tempo (1:08:06) Faschingsswchwank Aus Wien Op.26 *Click to activate the English subtitles for the presentation* (1:10:21-1:12:37) 1.Allegro (1:10:21) 2.Romance (1:20:04) 3.Scherzino (1:21:56) 4.Intermezzo (1:24:02) 5.Finale (1:26:28) Albumblätter Op.124 *Click to activate the English subtitles for the presentation* (1:32:37-1:33:50) 1.Impromptu (1:32:37) 2.Pressentiments (1:33:44) 3.Scherzino (1:35:56) 4.Valse (1:37:00) 5.Danse de Fantaisie (1:37:52) 6.Berceuse (1:38:44) 7.Ländler (1:40:27) 8.Chant sans fin (1:41:27) 9.Impromptu (1:46:01) 10.Valse (1:47:22) 11.Romance (1:48:11) 12.Burla (1:49:41) 13.Larghetto (1:51:13) 14.Vision (1:53:00) 15.Valse (1:54:05) 16.Berceuse (1:54:54) 18.Message (1:59:07) 19.Pièce de Fantaisie (2:00:25) 20.Canon (2:03:04) Variations sur un thème Original Op. Posthume ‘Geisterthema’ (2:04:31) Piano Sonata No.3 in F Minor Op.14 1.Allegro (2:19:29) 2.Scherzo (2:28:02) 3.Quasi Varizaioni / Andantino de Clara Wieck (2:34:07) 4.Prestissimo Possible (2:40:49) Konzert-Etuden Nach Caprichen Von Paganini Op.10 1.Allegro Molto (2:49:49) 2.Non Troppo Lento (2:55:21) 3.Vivace (3:03:09) 4.Maestoso (3:06:53) 5.Allegro Ma Non Troppo (3:15:34) 6.Sostenuto-Allegro (3:18:11) Scherzo Op.Posthume (3:23:28) Novelettes Op.21 *Click to activate the English subtitles for the presentation* (3:26:51-3:30:02) 1.Markiert Und Kräftig (3:26:51) 2.Ausserst Rasch Und Mit Bravour (3:32:06) 3.Leicht Und Mit Humor (3:38:36) 4.Ballmässig - Sehr Munter (3:43:02) 5.Rauschend Und Festlich (3:46:32) 6.Sehr Lebhaft Mit Vielem Humor (3:55:14) 7.Ausserst Rasch (3:59:41) 8.Sehr Lebhaft (4:03:34) Canon Sur ‘An Alexis’ Op.Posthume (4:14:39) Nachstücke Op.23 1.Mehr Langsam Oft Zurückhaltend (4:16:05) 2.Markiert Und Lebhaft (4:21:31) 3.Mit Grosser Lebhaftigkeit (4:27:18) 4.Einfach (4:30:58) Davidsbündlertänze Op.6 *Click to activate the English subtitles for the presentation* (4:34:51-4:38:10) 1.Lebhaft (4:34:51) 2.Innig (4:36:30) 3.Mit Humor (4:37:43) 4.Ungeduldig (4:39:11) 5.Einfach (4:40:07) 6.Sehr Rasch (4:42:00) 7.Nicht Schnell (4:43:55) 8.Frisch (4:48:29) 9.Lebhaft (4:49:14) 10.Balladenmässig Ser Rasch (4:50:38) 11.Einfach (4:52:15) 12.Mit Humor (4:54:13) 13.Wild Und Lustig (4:54:55) 14.Zart und Singend (4:57:11) 15.Frisch (4:59:47) 16.Mit Guten Humor (5:00:49) 17.Wie Aus Der Ferne (5:03:22) 18.Nicht Schnell (5:07:18) 6 Studien Nach Kapricen Von Paganini Op.3 1.Introduction/Agitato (5:09:13) 2.Allegretto (5:12:47) 3.Andante (5:15:53) 4.Allegro (5:18:21) 5.Lento/Allegro Assai (5:21:09) 6.Molto Allegro (5:24:34) 4 Marches Op.76 1.Mit Grösster Energie (5:26:39) 2.Sehr Kräftig (5:30:37) 3.Sehr Mässig (5:34:56) 4.Mit Kraft Und Feuer (5:38:10) Piano : Reine Gianoli Recorded in 1974, at Paris / France. FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ. Difficile à traduire musicalement, l’Humoresque Op.20 de Schumann est un chef d'œuvre de la multiplicité, un lieu de métamorphoses incessantes, un feu d'artifices de la joie et de la souffrance. Tant de contraires rassemblés en quelques pages expliquent la retenue de nombreux artistes devant pareil monument. Elle est le romantisme schumanien à l'état le plus pur. C’ est un défilé de figures, quelque chose comme une revue d'unités enchaînées ou placées bout à bout: une promenade où l'humour n'est pas absent. On dirait qu'une organisation, ici, serait une faute. Plus que jamais Schumann est bien celui qui fait des formes libres avec des instants ou des péripéties, et non celui qui emplit de musique des cadres formels. Il est celui qui bouillonne par-dessus les bords d'un vase. Schumann - Complete Piano Works 1/2 - Album for the young.. (Century’s recording : Reine Gianoli) : (http•••)
Daniel Gortler Robert Schumann Mendelssohn Schubert Curzon Uchida Goto 1984 2010 2011
This recording of selected piano works by Robert Schumann was conceived as a tribute to the composer on the occasion of the 200th anniversary of his birth Symphonic Etudes ("Etudes in the form of variations"), Op. 13 with the 5 Posthumous Variations XVII - Variation IX, Con espressione R. Schumann 2 CDs Album, Romeo (NEW) . International Record Review,Britain February 2011 Edition The Israeli pianist Daniel Gortler has been performing to steady international acclaim since winning third prize in the Geneva Competition in 1984. His recordings include the complete Mendelssohn Songs Without Words as well as a collection of Schubert songs with soprano Sharon-Rostorf Zamir (both for Romeo Records). In the present two-disc Schumann set, which is my introduction to his playing, he reveals a high level of technical refinement and-more importantly- a distinctive musical personality. In this over-familiar repertoire, which sometimes invites interpretative extremes, he wins by playing simply and directly. This is not to say that he plays without color and imagination, for these are in abundance, but rather to say that at no moment does he let his pianism draw our attention away from the music. He seems to deliver the letter as well as the spirit of these scores in a way that is rare among younger pianists. It is especially refreshing to hear such musicality applied to Op. 13, a work that is often played mainly as a technical tour de force but that is here treated as a set of subtle character variations. The scherzando qualities of Variations 3 and 4 are perfectly realized, the lovely five posthumous variations are inserted as welcome moments of repose, and the finale is for once not hammered home as merely loud and fast. At every dynamic level he finds multiple sub-levels of shading, and these we hear applied as naturally as a good conversationalist would do. This aspect makes his interpretation of Op. 17 one of the best I know, in a class with the famous old one by Curzon and the more recent fine ones by Fiorentino and Uchida. What they all have in common is the 'big picture', with playing that carries the listener from one phrase to the next, with never a sense of point -making, calculation or self-indulgence. Time is taken where Schumann asks for it, but the music never comes to a stop, even during fermatas. His judicious pedaling makes the fast outer movements of Op. 26 and the second movement of Op. 17 (and its coda) sound big without being merely loud, clear without being dry. Not even in the least inspired sections of Op.26 does the playing sound routine, and re-statements of themes are subtly given new life. Best of all are the slow sections of each work, where a natural sense of musical flow is married to the most refined kind of listening, with each note perfectly matched to the diminuendo of each preceding note. This applies also to Opp. 18 and 19, where their many ritardandos and fermatas are heard without the usual sentimentalizing. The recorded sound is as natural as the playing, and I hope that Gortler and Romeo will soon give us more Schumann (dare one ask for the Intermezzi or Novelettes?). Charles Timbrell. International Record Review (Romeo Records, NY) Mr. Gortler's official site: (http•••) To purchase the album from the artist goto: (http•••) Review Tri-C Classical Piano Series: Gartner Auditorium, Cleveland Museum of Art, November 2010. (http•••) "Gortler left his own stamp on these pieces by thoughtfully pointing up their many subtleties and placing every note as carefully as a curator would place valuable objects in an exhibition. The result was a memorable afternoon of piano music with no over-the-top pianism to be seen or heard."
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