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Paolo Giacometti|Schumann: Humoreske in B Flat Major Opus 20, Toccata in C Major Opus 7 & Phantasiestücke Opus 12

Schumann: Humoreske in B Flat Major Opus 20, Toccata in C Major Opus 7 & Phantasiestücke Opus 12

Paolo Giacometti

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(...) Robert Schumann (1810-1856) is unquestionably one of the greatest exponents of 19th-century Romantic piano music. Some of the most important reasons for this judgment lie not only in the breadth and importance of his oeuvre, but also in the unusually personal character of his music, which displays a capricious nature, full of peaks and valleys, emotionally unsparing, ranging from wildest exaltation to deepest depression. So it is with the Humoreske op. 20, whose title, not to be confused with humor in the current nglish sense of the word, refers to the older meaning of humor as emotional state. It is a masterpiece, intended as a supreme example of self-expression, no longer confined to a fixed form, and liberated from any kind of framework. The result is an inexhaustible sequence of emotional fragments. Only now and then does a motive return, in remembrance, as it were, a signpost which is quickly abandoned as suddenly as it appeared when a new path opens into the world of Schumann's emotions. (...)

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Schumann: Humoreske in B Flat Major Opus 20, Toccata in C Major Opus 7 & Phantasiestücke Opus 12

Paolo Giacometti

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1
Humoreske, Op. 20. Einfach - Hastig - Einfach und zart - Innig - Sehr lebhaft - Mit einiger Pomp - Zum Beschluss
00:28:26

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

2
Toccata in C Major, Op. 7. Allegro
00:07:35

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

Fantasiestücke, Op. 12 (Robert Schumann)

3
I. Des Abends. Sehr innig und spielend
00:03:13

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

4
II. Aufschwung. Sehr rasch
00:03:12

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

5
III. Warum?. Langsam und zart
00:03:08

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

6
IV. Grillen. Mit Humor
00:03:33

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

7
V. In der Nacht. Mit Leidenschaft - Etwas langsamer
00:04:09

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

8
VI. Fabel. Langsam - Schnell
00:02:43

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

9
VII. Traumeswirren. Äusserst lebhaft
00:02:32

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

10
VIII. Ende vom Lied. Mit gutem Humor - Etwas lebhafter
00:04:56

Robert Schumann, Composer - Copyright Control, MusicPublisher - Paolo Giacometti, MainArtist

2001 Channel Classics Records 2001 Channel Classics Records

Album review

(...) Robert Schumann (1810-1856) is unquestionably one of the greatest exponents of 19th-century Romantic piano music. Some of the most important reasons for this judgment lie not only in the breadth and importance of his oeuvre, but also in the unusually personal character of his music, which displays a capricious nature, full of peaks and valleys, emotionally unsparing, ranging from wildest exaltation to deepest depression. So it is with the Humoreske op. 20, whose title, not to be confused with humor in the current nglish sense of the word, refers to the older meaning of humor as emotional state. It is a masterpiece, intended as a supreme example of self-expression, no longer confined to a fixed form, and liberated from any kind of framework. The result is an inexhaustible sequence of emotional fragments. Only now and then does a motive return, in remembrance, as it were, a signpost which is quickly abandoned as suddenly as it appeared when a new path opens into the world of Schumann's emotions. (...)

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