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Kamermuziek - Verschenen op 30 april 2021 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Diapason d'or / Arte
Constantly shifting from the most impulsive exuberance to the most restrained meditation, from the most intense passion to the most innocent tenderness, this programme forms a representative panorama of Schumann’s chamber music. Going beyond the Piano Trios, which already give us a fully rounded account of Schumann, the Trio Wanderer have invited their favourite partners to join them for their interpretation of two supreme masterpieces, the Piano Quartet and Piano Quintet. © harmonia mundi
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Klassiek - Verschenen op 23 mei 2014 | Berlin Philharmonic Orchestra

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Klassiek - Verschenen op 15 februari 2002 | Warner Classics

Hi-Res Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
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Kamermuziek - Verschenen op 23 oktober 2020 | PentaTone

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The great veterans of the Emerson String Quartet offer here Robert Schumann’s Quatuors, recorded on three dates and in two different locations. These three Quatuors are rather unique in the sense that they were composed in the same year and over an astonishingly short period of time, over June and July 1842. Perhaps this creative gesture can be seen as Schumann’s response to his admiration for Quatuors Op.44 by his friend Felix Mendelssohn, to whom this entire work was dedicated. According to French quartet specialist, Bernard Fournier, Schumann wanted to impress his soon-to-be wife, a pianist famous throughout Europe, while he was only known locally as a music critic rather than a composer. These three quartets, conceived as a whole and written in a rather bright style that is quite rare for Schumann, are rigorously interpreted by the Emersons as they make their debut with the label Pentatone. The American quartet musicians who are highly regarded for their precision, opt for an extreme liveliness that highlights the originality in these works, but to the detriment of an expression that lacks a little warmth. © François Hudry/Qobuz
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Concerten voor cello - Verschenen op 30 november 2018 | Sony Music Classical Local

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - Le Choix de France Musique
Cellist Sol Gabetta and her almost-favourite pianist, Bertrand Chamayou, focus here on Schumann's all too rare repertoire for cello and piano. And once again, none of these pieces are intended a priori for cello, even though the original scores do propose the instrument as a possible alternative to the clarinet in Fantasy Pieces or the horn in Adagio and Allegro. It was only with Five Pieces in Folk Style that Schumann immediately thought of the cello! Here, Chamayou plays on a Viennese fortepiano by Streicher, dated from 1847 - three or four years after the composition of these three works. The Concerto for cello is accompanied by the Basel Chamber Orchestra, who also play on instruments from the romantic era, giving a more hushed yet incisive sound for the attacks. There’s more of an emphasis on the woodwind section as well, in contrast to the over-inflated string ensemble that so many modern orchestras offer up. © SM/Qobuz
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Klassiek - Verschenen op 7 februari 2020 | LSO Live

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 étoiles de Classica
The second album in Sir John Eliot Gardiner's Schumann series with the London Symphony Orchestra travels from glorious fanfare to dream-like passages with the lively 'Spring' and 'Rhenish' symphonies. From the dramatic first trumpet-call which awakens the frozen landscape, the First Symphony is a celebration of spring. It moves through the season and a gruff folk-song Scherzo until finally a jubilant conclusion dances into summer. Desperate, heartfelt and elegant, the "Manfred" Overture opens with an urgent impetus that only increases through the work, displaying the intense strife which lies ahead for its protagonist. Schumann’s Third is one of the composer’s most impressive, painting a euphoric picture of the German Rhineland in broad Beethovenian style and closing with an exhilarating finale. © LSO Live
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Klassiek - Verschenen op 19 augustus 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 21 augustus 2020 | Myrios Classics

Hi-Res Booklet
The year 1841 finally marked Robert Schumann’s breakthrough as a composer for orchestra. That year, he created no less than two works: his First Symphony, also known as the “Spring Symphony”, and a piece which he initially planned as a “Symphonic Fantasy” in one move- ment, and which would later become his Symphony in D Minor.The Spring Symphony was composed in the coldest winter. Full of longing, it is a work that knows only one direction: growing, blossom- ing, the path to light and new life. The Symphony in D minor seems much more somber and intimate, “a work from the innermost depths of his soul”, as Clara Schumann noted in her diary. However, the audience could not warm up to this bold, impetuous work, and Schumann set it aside. Ten years later, after a major revision, he published it as his 4th Symphony.This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. Schumann never heard it again in his lifetime, and it was not until 1889 that it was performed in public once more, by the Gürzenich Orchestra Cologne under the baton of Franz Wüllner.François-Xavier Roth, the Gürzenich Orchestra’s current chief conductor, also prefers the original version. With its leaner orchestration, it is certainly the more radical one, and thus requires a higher degree of commitment from the orchestra musicians in forming crescendi, melodic phrases, and extended arcs of formal development. © Myrios Classics
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Symfonieën - Verschenen op 3 maart 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Hi-Res Audio
As Yannick Nézet-Séguin continues to explore the Romantic symphonic repertoire, it becomes increasingly apparent that he has a strong affinity for German composers, something not readily guessed of this Canadian maestro. There might be an underlying connection between his recordings of the symphonies of Anton Bruckner, for which he has received considerable attention and acclaim, and this 2014 Deutsche Grammophon album of the four symphonies of Robert Schumann, which shows Nézet-Séguin as a strong advocate for this somewhat discounted symphonist. Like Bruckner, Schumann was not a brilliant composer for the orchestra, which has put both composers at a disadvantage with audiences, and Nézet-Séguin has to do some careful balancing of the sections and dynamics to produce a transparent sound, which is not easy to do, in light of Schumann's frequent doubling of strings and woodwinds. The Chamber Orchestra of Europe responds well to Nézet-Séguin's direction, so Schumann's music is substantially lighter sounding, thanks to the lean sound of the ensemble, as well as to the noticeable care the conductor takes in drawing out distinctive timbres, and not letting the music become too homogenous in color. Of course, the expression is affected by this fresh airing of these symphonies, and as might be expected, the music is lighter, cleaner, quicker, and more exciting, due in part to the streamlining of Schumann's textures. These live recordings were made in Paris in 2012, and while they are a little shallow sounding, details are perfectly clear with the proper volume setting. © TiVo
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Kamermuziek - Verschenen op 24 september 2013 | Ondine

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
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Klassiek - Verschenen op 1 april 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 3 februari 2015 | Naxos

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Concertmuziek - Verschenen op 22 maart 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
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Klassiek - Verschenen op 1 augustus 1972 | Deutsche Grammophon (DG)

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Trio´s - Verschenen op 1 april 2016 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Symfonische muziek - Verschenen op 2 november 2018 | audite Musikproduktion

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Klassiek - Verschenen op 1 januari 1984 | Deutsche Grammophon (DG)

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Kamermuziek - Verschenen op 9 april 2021 | BIS

Hi-Res Booklet
For the first four years of their marriage, Robert and Clara Schumann kept a joint diary, a project which Robert described as "a record of our wishes and our hopes, and the means whereby we may convey to one another any requests we may have to make, for which words may not suffice...". In the imaginative recital "Album für die Frau", Carolyn Sampson and Joseph Middleton combine songs by both composers into something similar – the depiction of a relationship seen through the eyes of both parties. Using the eight songs from Robert’s song cycle Frauenliebe und –leben to poems by Adalbert von Chamisso as the framework, they add songs as well as some piano solos in order to create a fuller and more complex picture. The result seems to suggest that the experiences of our "Frau" are richer than Chamisso and Robert Schumann imagined: while love, marriage and motherhood dominated much of Clara Schumann’s life, Robert’s death in 1856 signaled the start of a four-decade widowhood during which she resumed her stellar career as a pianist. As a team, Carolyn Sampson and Joseph Middleton have released a number of acclaimed discs, including "Fleurs", featuring flower-themed songs by composers from Purcell to Richard Strauss and Britten, "A Verlaine Songbook", exploring settings of the poetry of Paul Verlaine, and "A Soprano’s Schubertiade", a Schubert anthology. © BIS Records
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 11 september 2020 | Challenge Classics

Hi-Res Booklet
Robert Schumann’s piano music is invariably bound up with the dramatic events of his life. Schumann channelled both his love for Clara and his pianistic frustrations into his music, which was often composed with Clara in mind, both romantically and musically; she was an outstanding pianist and composer in her own right. During the late 1830s Schumann wrote numerous works for the piano, many of which met with considerable success. The Arabeske in C Major, Op. 18 dates from early 1839. In a letter of 15 August Schumann described the piece, which was dedicated to Frau Majorin Friederike Serre auf Maxen, as “delicate – for ladies”, and it is true that it has a gently lyrical, dreamy quality. Yet there is more to the Arabeske than this modest description would suggest. Schumann had left Leipzig for Vienna in the autumn of 1838 after reaching an impasse in his relations with the Wiecks, and the keenness with which he felt the separation from Clara may be sensed in the Arabeske’s mixture of wistfulness and determination. Of the piano music written by Schumann in the 1830s, just two collections include movement titles: the Phantasiestücke, Op. 12, and the Kinderszenen, Op. 15 of 1838. Schumann sketched 30 “cute little things” in early 1838, from which he chose 13 to create the Kinderszenen. The vivid movement titles were attached to each of the Kinderszenen after the music had been written, rather than inspiring the musical content. Yet the tender romanticism of these pieces – in Träumerei especially – suggests that Clara was never far from Schumann’s thoughts as he composed them. Although Clara was a powerful source of inspiration for Robert, he was also profoundly influenced by both musical and literary sources, which helped him to make sense of his rich inner world. E.T.A. Hoffmann enabled Schumann to explore the different facets of his nature through the character of Johannes Kreisler, who appeared in several volumes including Hoffmann’s Fantasiestücke, one section of which is entitled ‘Kreisleriana’. Schumann strongly identified with Kapellmeister Kreisler: both men were devoted to the music of J.S. Bach, and both veered between extremities of mood, from ecstasy to despair. This multifaceted nature is encapsulated in the eight movements of Kreisleriana, Op. 16. Kreisler’s brusque mood-swings are represented through Schumann’s contrasts between dazzling virtuosity and lyrical tenderness, often anchored by the tonal contrast between the key areas of G minor and B-flat major. Schumann’s dual nature, previously communicated through Florestan and Eusebius, had found a new mouthpiece. In contrast with the first decade of his career, which was almost entirely given over to piano music, Schumann did not write a great deal of solo piano music in the 1840s, producing just a handful of fugues and pieces for children. At the end of 1848 he began the Waldszenen (‘Forest Scenes’), a set of nine short piano pieces. Vogel als Prophet is one of the more disturbing pieces in the set. Schumann had returned from Vienna to Leipzig in April 1839. He drafted his Drei Romanzen, Op. 28, by 11 December. Clara was so enamoured of the set that she insisted on being their dedicatee: “As your bride you absolutely have to dedicate something more to me; and I know of nothing more tender than these three Romances, especially the middle one, which is the most beautiful love duet”. © CAVI-Music