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Jacob Greenberg|Schumann: Humoreske - Busoni: Fantasia contrappuntistica (Robert Schumann - Ferruccio Busoni)

Schumann: Humoreske - Busoni: Fantasia contrappuntistica (Robert Schumann - Ferruccio Busoni)

Robert Schumann - Ferruccio Busoni

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The program of this release by American pianist Jacob Greenberg is a study in contrasts. Schumann's Humoreske, Op. 20, composed in 1839, is a sort of abstract compression of the mercurial personalities of Schumann's two alter egos; it is an abstract work that shifts rapidly in mood over its seven movements played without pause. Here the seven movements are compressed to five tracks, but the division into movements seems almost incidental anyhow. Busoni's Fantasia contrappuntistica (1912), by contrast, might fairly be described as ponderous without taking anything away from it. It's a giant, typically virtuosic work, loosely based on Bach's Art of the Fugue, BWV 1080, that applies the processes of the chorale prelude and chorale variation to the theme of Bach's work. These two works don't seem exactly to go together, but Greenberg makes the case with a rather precise, dispassionate Humoreske and a lyrical, warm Fantasia contrappuntistica. The latter is especially important, for the songful quality in Busoni's music is too often missed by performers intent on showing off their chops. But the intelligence shown in tying the two pieces together is also noteworthy, for the two composers in a way came at the beginning and end of the same intelligent virtuoso tradition. An intriguing recital, and a novel move for the small New Focus Recordings label, which has largely focused on contemporary music.
© TiVo

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Schumann: Humoreske - Busoni: Fantasia contrappuntistica (Robert Schumann - Ferruccio Busoni)

Jacob Greenberg

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1
Humoreske in B flat major, Op. 20: Einfach -
00:05:54

Jacob Greenberg, piano

2
Humoreske in B flat major, Op. 20: Hastig -
00:04:39

Jacob Greenberg, piano

3
Humoreske in B flat major, Op. 20: Einfach und zart -
00:04:32

Jacob Greenberg, piano

4
Humoreske in B flat major, Op. 20: Innig - Sehr lebhaft -
00:06:45

Jacob Greenberg, piano

5
Humoreske in B flat major, Op. 20: Zum Beschluss
00:06:39

Jacob Greenberg, piano

6
Fantasia contrappuntistica: Preludio corale
00:08:32

Jacob Greenberg, piano

7
Fantasia contrappuntistica: Fuga I
00:03:01

Jacob Greenberg, piano

8
Fantasia contrappuntistica: Fuga II
00:01:38

Jacob Greenberg, piano

9
Fantasia contrappuntistica: Fuga III
00:05:17

Jacob Greenberg, piano

10
Fantasia contrappuntistica: Intermezzo
00:00:46

Jacob Greenberg, piano

11
Fantasia contrappuntistica: Variazione 1
00:01:13

Jacob Greenberg, piano

12
Fantasia contrappuntistica: Variazione 2
00:00:40

Jacob Greenberg, piano

13
Fantasia contrappuntistica: Variazione 3
00:00:49

Jacob Greenberg, piano

14
Fantasia contrappuntistica: Cadenza
00:01:07

Jacob Greenberg, piano

15
Fantasia contrappuntistica: Fuga IV
00:01:43

Jacob Greenberg, piano

16
Fantasia contrappuntistica: Corale
00:00:56

Jacob Greenberg, piano

17
Fantasia contrappuntistica: Stretta
00:01:51

Jacob Greenberg, piano

Albumbeschreibung

The program of this release by American pianist Jacob Greenberg is a study in contrasts. Schumann's Humoreske, Op. 20, composed in 1839, is a sort of abstract compression of the mercurial personalities of Schumann's two alter egos; it is an abstract work that shifts rapidly in mood over its seven movements played without pause. Here the seven movements are compressed to five tracks, but the division into movements seems almost incidental anyhow. Busoni's Fantasia contrappuntistica (1912), by contrast, might fairly be described as ponderous without taking anything away from it. It's a giant, typically virtuosic work, loosely based on Bach's Art of the Fugue, BWV 1080, that applies the processes of the chorale prelude and chorale variation to the theme of Bach's work. These two works don't seem exactly to go together, but Greenberg makes the case with a rather precise, dispassionate Humoreske and a lyrical, warm Fantasia contrappuntistica. The latter is especially important, for the songful quality in Busoni's music is too often missed by performers intent on showing off their chops. But the intelligence shown in tying the two pieces together is also noteworthy, for the two composers in a way came at the beginning and end of the same intelligent virtuoso tradition. An intriguing recital, and a novel move for the small New Focus Recordings label, which has largely focused on contemporary music.
© TiVo

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