Thursday, August 25, 2016
When I listen to the music of Frederick Chopin, I seek diversity. I prefer not to hear 12 waltzes, or 17 Etudes (if he wrote that many). My preference is to get some of each. In this recording there are 4 Nocturnes, but happily the other piece is the Piano Concerto #2. Chopin: Piano Concerto No. 2 in F minor, Op. 21, performed by the Sinfonia Varsovia, Christopher Warren-Green Nocturnes (2), Op. 27 Nocturne No. 14 in F sharp minor, Op. 48 No. 2 Nocturnes (3) Op. 9 Nocturne No. 20 in C sharp minor, Op. post. Performed by Maria João Pires (piano) The recordings on this album come from Ms. Pires’ concerts in 2010 (when she performed the Piano Concerto in F minor op. 21 with the Sinfonia Varsovia orchestra under the baton of Christopher Warren-Green) and 2014 (when she performed a recital including, among other items, the Nocturnes presented here). Here is Ms. Pires, performing the Fantasia Op. 49 by Chopin:
Pianist Maria Joao Pires has a new CD out that you might want to explore: Chopin: Piano Concerto and Nocturnes Chopin: Piano Concerto No. 2 in F minor, Op. 21, with the Sinfonia Varsovia, Christopher Warren-Green conducting. Nocturnes (2), Op. 27 Nocturne No. 14 in F sharp minor, Op. 48 No. 2 Nocturnes (3) Op. 9 Nocturne No. 20 in C sharp minor, Op. post. Performed by Maria João Pires (piano) This well-known performer in the piano world, has an extraordinarily modest, charming personality – focused on the music, devoted to deeply understanding it – has performed three times during the ‘Chopin and His Europe Festival’ at the invitation of the Fryderyk Chopin Institute. The recordings on this album include selections and 2014 performed at a recital including, among other items, the Nocturnes presented here. I like a presentation of completely different compositions, which nonetheless form an extraordinarily coherent artistic whole. These are wonderful creations displaying the most beautiful side of pianistic art. Here is Ms Pires, performing the second movement from Chopin’s piano concerto number 2:
It is known that Chopin's musical thoughts, during his last weeks of life, were pervaded by Mozart, and that the Requiem was performed at Chopin's funeral at La Madeleine in October 1849. Personally, I've often found a special affinity, sometimes even formal, between the great Austrian master and the Polish - a natural revolutionary spirit, a wistfully tinged harmonic tension encased in elegant, soothing tempo structures. Another great Sunday morning with The Odd Couple. Wolfgang Amadeus Mozart Clarinet Concerto K. 622 in A Clarinet Quintet K. 581 in A Benny Goodman, Clarinet Budapest String Quartet Boston Symphony Orchestra Charles Munch RCA RD85275 (1956) Wolfgang Amadeus Mozart Clarinet Concerto K. 622 in A Sinfonia Concertante K. 297b in E-Flat Major Sabine Meyer, Clarinet; Diethelm Jonas, Oboe Sergio Azzolini, Bassoon; Bruno Schneider, Horn Staatskapelle Dresden Hans Vonk EMI 66949 (1990) Wolfgang Amadeus Mozart Flute and Harp Concerto K. 299 in C Flute Concerto No. 1 K. 313 in G Flute Concerto No. 2 K. 314 in D Emmanuel Pahud, Flute Marie-Pierre Langlamet, Harp Berliner Philharmoniker Claudio Abbado EMI 5 57114-2 (1996) Wolfgang Amadeus Mozart Piano Concerto No. 13 K. 415 in C Piano Concerto No. 15 K. 450 in B-Flat Arturo Benedetti Michelangeli, Piano NDR-Sinfonieorchester Hamburg Cord Garben DGG 429 353-2 (1990)Wolfgang Amadeus Mozart Piano Concerto No. 17 K. 453 in G Major Piano Concerto No. 20 K. 466 in D Minor Robert Levin, Piano The Academy of Ancient Music Christopher Hogwood L'Oiseau-Lyre455 607-2 (1996)Wolfgang Amadeus Mozart Piano Concerto No. 14 K. 449 in E-Flat Major Piano Concerto No. 26 K. 537 in D Major 'Coronation' Maria João Pires, Piano Wiener Philharmoniker Claudio Abbado DGG 437 529-2 (1992)Wolfgang Amadeus Mozart Piano Concerto No. 17 K. 453 in G Major Piano Concerto No. 21 K. 467 in C Major Maria João Pires, Piano Chamber Orchestra of Europe Claudio Abbado DGG 439 941-2 (1995)Wolfgang Amadeus Mozart Piano Concerto No. 20 K. 466 in D Minor Piano Concerto No. 21 K. 467 in C Major András Schiff, Piano Camerata Academica Salzburg Sándor Végh Decca 430 510-2 (1989)Wolfgang Amadeus Mozart Piano Concerto No. 21 K. 467 in C Major Piano Concerto No. 27 K. 595 in B-Flat Major Chamber Orchestra of EuropeMurray Perahia Sony SK 46 485 (1990)Wolfgang Amadeus Mozart The Piano Sonatas Mitsuko Uchida, PianoPhilips 468 356-2 (1983/1987)Wolfgang Amadeus Mozart Serenata K. 361 in B-Flat 'Gran Partita' Academy of St. Martin-in-the-FieldsNeville Marriner Philips 412 726-2 (1984)Wolfgang Amadeus Mozart Serenata K. 361 in B-Flat 'Gran Partita' Bläser der Berliner PhilharmonikerDGG 437 771-2 (1980)Wolfgang Amadeus Mozart Piano Sonata No. 13 K. 333 in B-Flat Major Piano Sonata No. 4 K. 282 in E-Flat Major Piano Sonata No. 16 K. 545 in C Major Piano Sonata No. 9 K. 310 in A Minor Huguette Dreyfus, FortepianoDenon CO-77616 (1990)Wolfgang Amadeus Mozart Violin Sonata K. 454 in B-Flat Major Violin Sonata K. 526 in A Major Violin Sonata K. 547 in F Major Sergiu Luca, ViolinMalcolm Bilson, FortepianoNonesuch 79112-2 (1984)Wolfgang Amadeus Mozart Violin Concerto No. 5 K. 219 in A Major Symphony No. 41 K. 551 in C Major 'Jupiter' Anne-Sophie Mutter, ViolinBerliner PhilharmonikerHerbert von KarajanDGG 429 314-2 (1976)Wolfgang Amadeus Mozart Violin Concerto No. 5 K. 219 in A Major Flute and Harp Concerto K. 299 in C Jennifer Pike, ViolinEmily Beynon, Flute; Catherine Beynon, HarpBBC National Orchestra of WalesGarry WalkerThierry Fischer (K. 299)BBC MM354 (2011)Wolfgang Amadeus Mozart Violin Concerto No. 3 K. 216 in G Major Violin Concerto No. 4 K. 218 in D Major Violin Concerto No. 5 K. 219 in A Major Camerata Academica SalzburgAugustin DumayDGG 457 645-2 (1996)Wolfgang Amadeus Mozart The Violin Concertos Frank Peter Zimmermann, ViolinWürttembergisches Kammerorchester HeilbronnJörg Faerber EMI 7 63823 2 (1987)Wolfgang Amadeus Mozart Symphony No. 36 K. 425 in C Major 'Linz' Symphony No. 40 K. 550 in G Minor Staatskapelle DresdenColin DavisPhilips 422 398-2 (1988)Wolfgang Amadeus Mozart Symphony No. 30 K. 202 in D Major Symphony No. 31 K. 297 in D Major 'Paris' Symphony No. 32 K. 318 in G Major Symphony No. 33 K. 319 in B-Flat Staatskapelle DresdenColin DavisPhilips 432 977-2 (1991)Wolfgang Amadeus Mozart Symphony No. 35 K. 385 in D Major 'Haffner' Symphony No. 38 K. 504 in D Major 'Prague' Staatskapelle DresdenColin DavisPhilips 416 155-2 (1988)Wolfgang Amadeus Mozart Symphony No. 29 K. 201 in A Major Symphony No. 33 K. 319 in B-Flat Symphony No. 34 K. 338 in C Major Wiener PhilharmonikerRiccardo MutiPhilips 462 906-2 (1998)Wolfgang Amadeus Mozart Symphony No. 31 K. 297 in D Major 'Paris' Symphony No. 41 K. 551 in C Major 'Jupiter' Wiener PhilharmonikerRiccardo MutiPhilips 442 126-2 (1993)Wolfgang Amadeus Mozart 'Coronation' Mass K. 317 in C Major Vesperae solennes de confessore K. 339 Joan Rodgers, Soprano; Elisabeth von Magnus, Mezzo-SopranoJosef Protschka, Tenor; László Polgár, BassArnold Schoenberg ChorConcentus musicus Wien Nikolaus HarnoncourtTeldec 8 43535 (1986)Wolfgang Amadeus Mozart 'Great' Mass K. 427 in C Minor Vesperae solennes de confessore K. 339 Kathleen Battle, Lella Cuberli, SopranoPeter Seiffert, Tenor; Kurt Moll, BassWiener StaatsopernchorWiener PhilharmonikerJames LevineDGG 423 664-2 (1986)Wolfgang Amadeus Mozart Requiem K. 626 in D Minor Lynne Dawson, Soprano; Jard van Nes, ContraltoKeith Lewis, Tenor; Simon Estes, BassPhilharmonia Chorus and OrchestraCarlo Maria GiuliniSony SMK60025 (1989)Wolfgang Amadeus Mozart Requiem K. 626 in D Minor Anna Tomowa-Sintow, Soprano; Helga Müller-Molinari, ContraltoVinson Cole, Tenor; Paata Burchuladze, BassWiener SingvereinWiener PhilharmonikerHerbert von KarajanDGG 419 610-2 (1986)Frédéric Chopin Piano Concerto No. 2 Op. 21 in F Minor Carl Loewe Piano Concerto No. 2 in A Major Mari Kodama, Piano Russian National Orchestra Kent Nagano Pentatone 5186026 (2004) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Sergej Rachmaninov Piano Sonata No. 2 Op. 36 in B Minor Hélène Grimaud, Piano DGG 477 5325 (2005)Frédéric Chopin Ballades Scherzo No. 4 Op. 54 in E Berceuse Op. 57 in D-Flat Major Barcarolle Op. 60 in F-Sharp Major Evgeny Kissin, Piano RCA 09026 63259 2 (1998)Frédéric Chopin Ballades Fantaisie Op. 49 in F Minor Berceuse Op. 57 in D-Flat Major Michaël Levinas, PianoAdes 14.076-2 (1985)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Fantaisie-Impromptu Op. 66 in C-Sharp Minor Fantaisie Op. 49 in F Minor Berceuse Op. 57 in D-Flat Major Maria João Pires, PianoChamber Orchestra of EuropeEmmanuel Krivine DGG 457 585-2 (1998)Frédéric Chopin Piano Concerto No. 2 Op. 21 in F Minor Préludes Op. 28 Maria João Pires, PianoRoyal Philharmonic OrchestraAndré PrevinDGG 437 817-2 (1992)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Martha Argerich, PianoOrchestre symphonique de MontréalCharles DutoitEMI 5 56798 2 (Re-issued by Musicom) (1998)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Lang Lang, PianoWiener PhilharmonikerZubin MehtaDGG 477 7982 (2008)Frédéric Chopin Etudes Op. 10 Etudes Op. 25 Maurizio Pollini, PianoDGG 413 794-2 (1972)Frédéric Chopin 10 Mazurkas Prélude Op. 45 in C-Sharp Minor Ballade No. 1 Op. 23 in G Minor Scherzo No. 2 Op. 31 in B-Flat Minor Arturo Benedetti Michelangeli, PianoDGG 413 449-2 (1972)Frédéric Chopin Nocturnes Maria João Pires, PianoDGG 447 096-2 (1996)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor 14 Waltzes Maria João Pires, PianoOrchestre National de l'Opéra de Monte-CarloArmin JordanErato 3984 21089-2 (1977-1984)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Jorge Bolet, PianoOrchestre symphonique de MontréalCharles DutoitDecca 425 859-2 (1989) Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Bella Davidovich, PianoLondon Symphony OrchestraNeville MarrinerDecca 468 117-2 (1980) Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Krystian Zimerman, PianoLos Angeles PhilharmonicCarlo Maria GiuliniDGG 415 970-2 (1979) Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Polish Festival Orchestra Krystian ZimermanDGG 459 684-2 (1999) Frédéric Chopin Préludes Op. 28 Prélude Op. 45 in C-Sharp Minor Prélude in A-Flat Major Alexander Scriabin Piano Sonata No. 2 Op. 19 in G-Sharp Minor Beatrice Rana, PianoATMA Classique 2614 (2012) Frédéric Chopin Scherzos Polonaise Op. 61 in A-Flat Major Claudio Arrau, PianoPhilips 412 610-2 (1984) Frédéric Chopin Préludes Op. 28 Piano Sonata No. 2 Op. 35 in B-Flat Minor Polonaise Op. 53 in A-Flat Evgeny Kissin, PianoRCA 09026 63535 2 (1999) Frédéric Chopin Ballades Piano Sonata No. 2 Op. 35 in B-Flat Minor Andrei Gavrilov, PianoEMI 7 47344 2 (1985) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Préludes Op. 28 Nocturnes Op. Nos. 2 in E-Flat & 3 in B Anna Kravtchenko, PianoDecca 476 3120 (2005) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Scherzos Simon Trpčeski, Piano EMI 3 75586 2 (2006) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Selected Nocturnes, Mazurkas, Waltzes Ballade No. 3 Op. 47 in A-Flat Major Sergej Rachmaninov, Piano RCA 09026 62533 2 (1919/1935) Frédéric Chopin Piano Sonata No. 3 Op. 58 in B Minor 12 Mazurkas Evgeny Kissin, Piano RCA 09026 62542 2 (1993) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Piano Sonata No. 3 Op. 58 in B Minor Mitsuko Uchida, Piano Philips 420 949-2 (1988) Frédéric Chopin 14 Waltzes 7 Mazurkas Jean-Marc Luisada, Piano RCA 88875028062 (2013) Frédéric Chopin Ballades Scherzos 14 Waltzes 4 Impromptus Samson François, Piano EMI 7 62569 2 (1963) Frédéric Chopin Cello Sonata Op. 65 in G Minor Sergej Rachmaninov Cello Sonata Op. 19 in G Minor and Cello Sonatas by Gabriel Fauré and Felix Mendelssohn-Bartholdy Paul Tortelier, Cello Aldo Ciccolini, Eric Heidsieck, Maria de la Pau, Piano EMI 5 74333 2 (1968) Frédéric Chopin 4 Mazurkas Op. 24 Joaquín Turina5 Danzas Gitanas, Series 2 Op. 84Franz SchubertFantasia D. 940 in F MinorJohannes Brahms4 Hungarian Dances Katarina & Vladimir Krpan, Piano Nemini Similis SC9605 (1995) Link to "The Odd Couple" previous post: BONUS: Wolfgang Amadeus Mozart Piano Concerto No. 22 K. 482 in E-Flat MajorJohannes BrahmsSymphony No. 4 Op. 98 in E Minor Barry Douglas, Piano Orchestra del Teatro la Fenice di VeneziaYuri TemirkanovRAI Digital Archives – Venice, 4 May 2002 MUST-HAVE (mainly for the Douglas) Wolfgang Amadeus Mozart Symphony No. 36 K. 425 in C Major ‘Linz’Claude Debussy Prélude à l’après-midi d’un faune Franz Schubert Rondo D. 438 in A Major for Violin and Orchestra Thomas Zehetmair, Violin Mahler Chamber Orchestra Alan Gilbert RAI Digital Archives – Ferrara, 30 October 2002 Flac & Scans
I've said it before and I'll say it again: "I love a good mistake." I have strong memories as a young musician of being fascinated when a clarinetist clonked a passage somewhere in the middle of the Met's broadcast of the Ring Cycle. In the midst of all those hours of fantastic playing, there was something particularly gratifying and life-affirming about hearing such a moment of humanity. (My family taped all four of the operas, and that's the moment I most remember watching and re-watching.) I also remember well a low-budget family VHS of a Russian production of The Nutcracker in which one of the partygoing dancers got caught on the wrong side of the closing stage curtain. (In retrospect, I suppose this could have been an intentional bit of comedy.) I can still hear exactly what the orchestra was playing at that moment, and any time I hear that bit of music again, I instantly see that poor Russian woman fighting her way under the big velvet monster. I've written many posts about this perverse attraction of mine. Here I discussed indelible memories of Suzuki students crushing a chord in Veracini; here I detailed a wide variety of memorable miscues, with a Mendelssohn misreading, a Dvorak missed shift, a Grieg misprint and a Ravel missed landing all taking a bow and making me smile. One of my worst-ever "can't stop laughing" struggles occurred years ago when I was turning pages for my piano teacher in a performance of the Franck Violin Sonata on a retirement home piano that needed retiring itself. During the performance of the manic second movement, I can still vividly remember the sight of old, broken ivories literally flying off the keyboard; I felt tears stream down my face as I tried to hold back laughter. Not surprisingly, notable in-concert mistakes make the rounds among musicians every now and then because they're so strangely compelling. There's Maria Pires surprised to hear the orchestra starting the wrong concerto, Christian Zacharias stopping because a cellphone interrupts his Haydn (isn't Haydn supposed to love surprises?), and the resourceful violist who took up a cellphone ring tune for a quick bit of improvisation. But those aren't mistakes made by the performers in the moment. Today, Jessica Duchen posted a video of a virtual Victor Borge routine breaking out at a violin recital due to a series of page-turning mishaps. In this performance by superstar violinist Christian Tetzlaff of the Brahms "F-A-E" Scherzo, Tetzlaff tries unsuccessfully to execute a quick page turn and comedy ensues.* There's so much to enjoy here that I couldn't resist making my own little annotated version. Original, unannotated video is here. What to Enjoy (I've now studied this thing like the Zapruder film): 0:18 Tetzlaff has less than two full measures (in a very quick tempo) to turn. He lifts the page with his bow hand, but the page flips back on him. It's on!0:20 Probably my favorite thing is that his bow has returned to the violin, so he now tries to resume Brahms while fixing the music with his left hand, which is, um, also important in violin playing. The first two notes he's supposed to play are a G-A above middle C. He gamely plays them both on the open A string while trying to restore order.0:21 He realizes the left hand isn't up to the task (it would have to reach far across his body to grab the page from the right) and that bowing isn't doing much good without the other hand, so he bails for a second and uses both hands to whip the page over...IMPORTANT POINT: The page turner is a very accomplished violinist who hears right away that something is amiss and looks up at Tetzlaff. 0:22 ...and the music goes crashing to the floor.0:23 It's almost as if the force of the music falling pulls Tetzlaff towards it, and so, while having immediately resumed playing (with what must be a heightened sense of scherzo energy), he stomp-marches over to the piano to look over the piano score. Pianist Lars Vogt looks amused, though it's hard to tell for sure given the video quality.Meanwhile, our intrepid page-turner, Anna Reszniak, is up in a flash and moves through the space vacated by Tetzlaff to pick up the music and reset it. She checks the pages and turns to what she must think/hope is the right place.0:30 Tetzlaff glances over at the violin stand and apparently doesn't see the right page, because he resumes playing from the piano score while Reszniak heads back to her position, looking back to see that something probably isn't quite right.0:33 - 0:53 Music by Brahms.0:53 The music has reached a low ebb before the final big buildup, and it's about time for Reszniak to turn the last page in the piano score. 0:56 She turns - and a loose page comes tumbling out. It's the final page, but at least Vogt has the left-side page still in front of him. He grins again. Suspense!0:58 Reszniak starts back towards Tetzlaff.0:59 Tetzlaff gracefully counters her, moving back with a little hop in his step to let Reszniak cross in front of him this time to retrieve the loose page. 1:02 She carefully places it back on the piano, as Tetzlaff crosses around her back towards the piano so he can see the music!1:04 Reszniak calmly turns the violin part to the right place and circles back to her seat as Tetzlaff counters back to his place at the violin stand. All is well as...1:10 ...the violin soars to the final big climax. The drama has been perfectly timed, and the unrehearsed footwork of Tetzlaff and Reszniak looks as effortless as the ice routines of Torvill and Dean.I enjoy all of this in part because I've been in such situations before and know well how strangely thrilling it is to have a sudden extra layer of difficulty putting everyone on red alert (like that time when the lights went out). Seconds feel like minutes and every sense is heightened. Teztlaff, especially, had to make multiple split-second decisions, all while negotiating Brahms's high-wire act. Actually, something kind of like this happened to me last Saturday night. I was accompanying a voice recital, reading the music from an iPad and using a pedal to turn pages. In a fairly straightforward song, I somehow turned a page ahead? Or perhaps panicked and turned back to fix what didn't need fixing? I actually don't remember exactly what happened, and I wasn't sure for a second (felt like a minute) if I needed to tap the screen to go back or forward. I sort of half-heartedly kept playing something semi-random with one hand while tapping the screen with the other, and can remember realizing that the soprano was half-glancing back at me. Then suddenly everything was fine again. Of course, any live performance involves an exciting combination of 1) relying on deeply rooted muscle memory and 2) reacting at a split-second level to what's going on around. In rehearsed performances, there's always the danger of falling too much into routine and losing the exhilaration of being in the moment, and though I'm sure Tetzlaff regrets having to leave out a few measures (and playing an eighth-note G with an open A), I wouldn't be surprised if he and Vogt (and the audience!) found themselves experiencing an extra gear of musical excitement in what is already a hard-driving piece. (We can be sure Reszniak's heart was beating a little faster, though she may have enjoyed the music least of all.) They were living out the desperate emotions that Brahms had encoded so long ago. As for me, I can't get enough of it, as you can see below. After all, there's humor in repetition. See also: My end is my beginning * I also wrote once about a clearly audible page turn I cherish in a Beaux Arts Trio recording of the Ravel trio - but the only "mistake" there was how loudly the turn sounded. Yeah, I made a video then, too:
A variety of the great Saxon master's most beloved works - in fact, all of his quintessential masterpieces are offered here, with the exception of some String Quartets and the Szenen aus Goethes Faust. We will fill these gaps soon, meanwhile, we can enjoy some of the most sublime moments of Schumann's art and of all Romanticism, including my beloved Symphonic Etudes (with the dreamlike IV and V Posthumous Variations above all) or the heartwarming Romanze No. 2 in F-Sharp - without a doubt some of the highest music ever conceived... Robert Schumann Symphonische Etüden Op.13 Johannes BrahmsPaganini-Variationen Op. 35 Jean-Yves Thibaudet, PianoDecca 444 338-2 (1994) Robert Schumann Piano Sonata No. 2 Op. 22 in G Minor Johannes BrahmsPiano Concerto No. 2 Op. 83 in E-Flat Major Sviatoslav Richter, PianoOrchestre de ParisLorin MaazelEMI 73248 2 (1963-1970)Robert Schumann Piano Concerto Op. 54 in A Minor Edvard GriegPiano Concerto Op. 16 in A Minor Claudio Arrau, PianoRoyal Concertgebouw OrchestraChristoph von Dohnányi Philips 456 566-2 (1963)Robert Schumann Piano Concerto Op. 54 in A Minor Edvard GriegPiano Concerto Op. 16 in A Minor Murray Perahia, PianoSymphonieorchester des Bayerischen RundfunksColin Davis CBS MK 44899 (1988)Robert Schumann Piano Concerto Op. 54 in A Minor Arnold SchoenbergPiano Concerto Op. 42 Maurizio Pollini, PianoBerliner PhilharmonikerClaudio Abbado DGG 427 771-2 (1989)Robert Schumann Carnaval Op. 9Humoreske Op. 20Noveletten Op. 21 Nos. 1 & 2 Vladimir Ashkenazy, PianoDecca 421 010-2 (1986)Robert Schumann Piano Quintet Op. 44 in E-Flat Piano Quartet Op. 47 in E-Flat Fantasiestücke Op. 73; Märchenbilder Op. 113Violin Sonata No. 2 Op. 121 in D Minor Martha Argerich, Alexandre Rabinovitch, PianoDora Schwarzberg, Lucy Hall, ViolinNatalia Gutman, Mischa Maisky, CelloNobuko Imai, Viola; Marie-Luise Neunecker, HornEMI 55484 2 (1995) Robert Schumann Romanzen und Balladen für Chor SWR Vokalensemble StuttgartRupert HuberHännsler Classics 93.256 (1998)Robert Schumann Das Paradies und die Peri Requiem für Mignon Barbara Bonney, Alexandra Coku, SopranoBernarda Fink, Mezzo-Soprano; Gerard Finley, BaritoneChristoph Prégardien, Neill Archer, TenorCornelius Hauptmann, BassThe Monteverdi ChoirOrchestre Révolutionnaire et RomantiqueJohn Eliot GardinerArchiv 457 660-2 (1997) Robert Schumann Davidsbündlertänze Op. 6Waldszenen Op. 82Fantasiestücke Op. 111 Andreas Haefliger, PianoSony SK 48036 (1991)Robert Schumann Davidsbündlertänze Op. 6Franz SchubertFantasie D. 760 in C Major "Wanderer-Fantasie" Anatol Ugorsky, PianoDGG 437 539-2 (1992)Robert Schumann Dichterliebe Op. 48Liederkreis Op. 24 Matthias Goerne, BaritoneVladimir Ashkenazy, PianoDecca 458 265-2 (1997)Robert SchumannLieder on Poems by H. Heine(incuding Liederkreis Op. 24 & Lyric Intermezzo) Thomas Hampson, BaritoneWolfgang Sawallisch, PianoEMI 55598 2 (1994)Robert SchumannDichterliebe Op. 48Ludwig van BeethovenAn die ferne Geliebte Op. 98(and Lieder by Robert Franz, Edvard Grieg, Carl Loewe) Thomas Hampson, BaritoneGeoffrey Parsons, PianoEMI 55147 2 (1993)Robert SchumannSymphonische Etüden Op.13Fantasie Op. 17 in C Major Vladimir Ashkenazy, PianoDecca F28L-28073 (1963)Robert SchumannSymphonische Etüden Op.13Arabeske Op. 18Papillons Op. 2 Vladimir Ashkenazy, PianoDecca 414 474-2 (1984)Robert SchumannFantasie Op. 17 in C MajorFranz Liszt5 Études d'exécution transcendante S.139 Evgeny Kissin, PianoRCA 68262 2 (1995)Robert SchumannWaldszenen Op. 82Romanzen Op. 28Faschingsschwank aus Wien Op. 26Arabeske Op. 18 Maria João Pires, PianoDGG 437 538-2 (1994)Robert SchumannFrauenliebe und Leben Op. 42Liederkreis Op. 39 Jessye Norman, SopranoIrwin Gage, PianoPhilips 420 784-2 (1975)Robert SchumannFrauenliebe und Leben Op. 425 Lieder Op. 40 Anne Sofie von Otter, Mezzo-SopranoBengt Forsberg, PianoDGG 445 881-2 (1993)Robert SchumannKinderszenen Op. 15Faschingsschwank aus Wien Op. 26Arabeske Op. 18 Stanislav Bunin, PianoDGG 445 181-2 (1988)Robert SchumannKreisleriana Op. 16Johannes BrahmsPiano Sonata No. 2 Op. 2 in F-Sharp Minor Hélène Grimaud, PianoDenon 73336 (1988)Robert SchumannKreisleriana Op. 16Fantasie Op. 17 in C Major Arthur Rubinstein, PianoRCA RD86258 (1964-1965)Robert SchumannKreisleriana Op. 16Fantasie Op. 17 in C MajorArabeske Op. 18 Jonathan Biss, PianoEMI 65391 2 (2006)Robert SchumannKreisleriana Op. 16Gesänge der Frühe Op. 133Allegro Op. 8 in B Minor Maurizio Pollini, PianoDGG 471 370-2 (2001)Robert SchumannKreisleriana Op. 16Humoreske Op. 20Johannes Brahms7 Fantasien Op. 116 Imogen Cooper, PianoBBC MM134 (1994)Robert SchumannKreisleriana Op. 16Gesänge der Frühe Op. 133Nachtstücke Op. 23Theme and Variations in E-Flat Major "Geister-Variationen" András Schiff, Piano Teldec 14566-2 (1997)Robert SchumannKreisleriana Op. 16Piano Sonata No. 1 Op. 11 in F-Sharp Minor Murray Perahia, Piano Sony SK 62786 (1997) Robert SchumannSelected Lieder(including Dichterliebe, 2 Liederkreis,Myrthen, Der arme Peter) Peter Schreier, TenorChristoph Eschenbach, PianoHQ DDL - Teldec 24615429 (1995)Robert SchumannLiederkreis Op. 3912 Gedichte Op. 35 Matthias Goerne, TenorEric Schneider, PianoDecca 460 797-2 (1998)Robert SchumannPiano Concerto Op. 54 in A Minor Richard StraussBurleske in D Minor Hélène Grimaud, PianoDeutsches Symphonie-Orchester BerlinDavid ZinmanErato 11727-2 (1995)Robert SchumannPiano Concerto Op. 54 in A Minor Carl Maria von WeberKonzertstück Op. 79 in F Minor Alfred Brendel, PianoLondon Symphony OrchestraClaudio AbbadoPhilips 412 251-2 (1979)Robert SchumannPiano Concerto Op. 54 in A Minor Cello Concerto Op. 129 in A MinorIntroduction and Allegro appassionato Op. 92 in G Major Jorge Bolet, Piano (Concerto) *András Schiff, Piano (Introduction) **Lynn Harrell, CelloRSO Berlin, Riccardo Chailly *Wiener Philharmoniker, Christoph von Dohnányi **Cleveland Orchestra, Neville Marriner (Cello Concerto)Decca 467 455-2 (1986-1982-1988) Robert SchumannPiano Concerto Op. 54 in A Minor Introduction and Allegro appassionato Op. 92 in G MajorIntroduction and Allegro Op. 134 in D Minor Sequeira Costa, PianoGulbenkian OrchestraStephen GunzenhauserNaxos 8.550277 (1985)Robert SchumannPiano Concerto Op. 54 in A Minor Kinderszenen Op. 15Waldszenen Op. 82Variationen über den Namen Abegg Op. 1 Clara Haskil, PianoThe Hague Philharmonic OrchestraWillem van OtterlooPhilips 420 851-2 (1951-1954-1955)Robert SchumannPiano Concerto Op. 54 in A Minor Arabeske Op. 18 Evgeny Kissin, PianoWiener PhilharmonikerCarlo Maria GiuliniSony SK 52567 (1992)Robert SchumannPiano Concerto Op. 54 in A Minor Piano Quintet Op. 44 in E-Flat Major Arthur Rubinstein, PianoGuarneri QuartetChicago Symphony OrchestraCarlo Maria GiuliniBMG/Amadeus AM33 (1967-1966)Robert SchumannPiano Concerto Op. 54 in A Minor Piano Quintet Op. 44 in E-Flat Major Maria João Pires, PianoAugustin Dumay, Renaud Capuçon, ViolinGérard Caussé, Viola, Jian Wang, CelloChamber Orchestra of EuropeClaudio AbbadoDGG 463 179-2 (1999)Robert SchumannPiano Quintet Op. 44 in E-Flat MajorPiano Quartet Op. 47 in E-Flat Major Beaux Arts TrioSamuel Rhodes, Viola, Dolf Bettelheim, ViolinPhilips 420 791-2 (1975)Robert SchumannPiano Quintet Op. 44 in E-Flat MajorString Quartet Op. 41 No. 1 in A Minor Paul Gulda, PianoHagen QuartetDGG 447 111-2 (1994)Robert SchumannPiano Sonata No. 1 Op. 11 in F-Sharp MinorCarnaval Op. 9 Evgeny Kissin, PianoRCA 63886 2 (2001)Robert Schumann Frauenliebe und Leben Op. 42Clara SchumannSelected Lieder Barbara Bonney, SopranoVladimir Ashkenazy, PianoDecca 452 898-2 (1996)Robert Schumann Symphonische Etüden Op.13 Romanzen Op. 28 Waldszenen Op. 82 Franz Schubert Moments musicaux D. 780 Walter Gieseking, PianoUrania 22.252 (1951)Robert Schumann Symphonische Etüden Op.13 Domenico Scarlatti 7 Sonatas Claude Debussy Pour le Piano Emil Gilels, PianoErmitage 163-2 (1984)Robert Schumann Symphonische Etüden Op.13 Blumenstück Op. 19Davidsbündlertänze Op. 6Arabeske Op. 18 András Schiff, Piano Teldec 99176-2 (1995)Robert Schumann Symphonische Etüden Op.13 Fantasie Op. 17 in C Major Bunte Blätter Op. 99Arabeske Op. 18 Mikhail Pletnev, Piano HQ DDL - DGG 474 813-2 (2004) Robert Schumann Symphonische Etüden Op.13 Ludwig van Beethoven "Eroica" Variations Op. 35 in E-Flat Major Emanuel Ax, Piano Sony 8765-42086-2 (2012) Robert SchumannPiano Sonata No. 1 Op. 11 in F-Sharp MinorFrédéric Chopin Ballade No. 1 Op. 23 in G Minor Franz Liszt Après une lecture de Dante (Fantasia quasi Sonata) Hélène Grimaud, PianoBrilliant 92117/3 (1987) Robert Schumann Violin Concerto in D Minor Violin Sonata No. 1 Op. 105 in A Minor Violin Sonata No. 2 Op. 121 in D Minor Uto Ughi, ViolinSymphonieorchester des Bayerischen RundfunksWolfgang Sawallisch BMG/Amadeus AM088-2 (1993)Robert Schumann Violin Sonata No. 1 Op. 105 in A Minor Violin Sonata No. 2 Op. 121 in D Minor Gidon Kremer, ViolinMartha Argerich, PianoHQ DDL - DGG 419 235-2 (1986)Robert Schumann Waldszenen Op. 82 Piano Sonata No. 2 Op. 22 in G Minor Gesänge der Frühe Op. 133 Mitsuko Uchida, PianoDecca 478 5393 (2013)Robert Schumann Symphony No. 1 Op. 38 in B-Flat Major "Frühling" Symphony No. 4 Op. 120 in D Minor Manfred-Ouvertüre Op. 115 Berliner PhilharmonikerJames LevineDGG 435 856-2 (1992)Robert Schumann Symphony No. 2 Op. 61 in C Major Symphony No. 3 Op. 97 in E-Flat Major "Rhenish" Berliner PhilharmonikerJames LevineDGG 423 625-2 (1988)Robert Schumann Symphony No. 1 Op. 38 in B-Flat Major "Frühling" Symphony No. 2 Op. 61 in C Major Symphony No. 3 Op. 97 in E-Flat Major "Rhenish" Symphony No. 4 Op. 120 in D Minor Staatskapelle BerlinDaniel BarenboimTeldec 61179-2 (2003)Robert Schumann Symphony No. 1 Op. 38 in B-Flat Major "Frühling" Symphony No. 4 Op. 120 in D Minor Wiener PhilharmonikerRiccardo MutiPhilips 442 121-2 (1993)Robert SchumannSymphony No. 2 Op. 61 in C Major Symphony No. 3 Op. 97 in E-Flat Major "Rhenish" Wiener PhilharmonikerRiccardo MutiPhilips 446 714-2 (1995)Robert Schumann Symphony No. 1 Op. 38 in B-Flat Major "Frühling" Symphony No. 4 Op. 120 in D Minor Philharmonia OrchestraChristian ThielemannDGG 469 700-2 (2001)Robert Schumann Symphony No. 2 Op. 61 in C Major Konzertstück Op. 86 for 4 Horns & Orchestra Manfred-Ouvertüre Op. 115 Philharmonia OrchestraChristian ThielemannDGG 453 482-2 (1996)Robert Schumann Symphony No. 3 Op. 97 in E-Flat Major "Rhenish" "Genoveva"-Ouvertüre Op. 81 Ouvertüre, Scherzo und Finale Op. 52 Philharmonia OrchestraChristian ThielemannDGG 459 680-2 (1998)Robert Schumann Symphony No. 1 Op. 38 in B-Flat Major "Frühling" Symphony No. 2 Op. 61 in C Major Symphony No. 3 Op. 97 in E-Flat Major "Rhenish" Symphony No. 4 Op. 120 in D Minor Philadelphia OrchestraJames LevineLP Rip - RCA RL 03907 (1978) BONUS: Robert Schumann Symphonische Etüden Op.13 Vanessa Benelli Mosell, Piano RAI Digital Archives (Live Recording, Rome 12 March 2006) MUST-HAVE recording. The distinguished Tuscan pianist offers a truly Symphonic rendition of this masterpiece, thanks to a passionate approach, full-scale tone palette and amazing dynamics. Robert SchumannPiano Concerto Op. 54 in A Minor Maurizio Pollini, PianoFilarmonica della ScalaRiccardo MutiRAI Digital Archives (Live Recording, Milan 1 May 2000) Flac & Scans
Maria João Pires (Robert Torres photo) What looked on paper to be a bland, meat and potatoes kind of program (Schumann Manfred Overture, Mozart Piano Concerto No. 23, and Brahms Symphony No. 1), the Boston Symphony Orchestra under the direction of Bernard Haitink managed to make surprisingly fresh and new on Thursday. It’s hard to imagine any orchestra anywhere matching this one for lush tone, polish, and agility. And if there’s a richer sound anywhere than that of the BSO cello and viola sections playing in octaves, I’d like to hear it. Schumann’s “Overture from Music for Byron’s Manfred, Op. 115 was fervid, and intense. Written in 1848 – 49, the work is Schumann’s musical response to Byron’s poem dealing with guilt and sorrow, and has all the colorful language of storminess of Romantic literature. The orchestra has doubtless played this work more times than they can count, but it had passion, conviction, and drama. Haitink’s no muss, no fuss conducting style was clear, without a lot of unnecessary shenanigans, yet elicited roiling waves of sound from the players. Most unfortunately, just as the music was sinking to an intense pianissimo close, some audience member found this the perfect time to cough triple forte. It didn’t destroy the moment, but it was annoying. Maria João Pires then came on to play Mozart’s Piano Concerto No. 23 in A Major, K. 488. Written in 1786, while the composer was in the middle of an incredible streak of productivity (he repeatedly interrupted the composition of the opera to toss off a one act singspiel, The Impressario and a string of three piano concerti, of which this is the middle one). This beautiful, chamber music-like work featured some lovely solo winds, and delicately articulated string playing. As a whole it had the lightness and sweetness of champagne bubbles. Pires’s playing was confident, lyrical and received a well-earned standing ovation. A surprisingly brisk and delicate rendition of Brahms’s Symphony No. 1 in C Minor, Op. 68 crowned the evening. It is well-known that Brahms felt the heavy shadow of Beethoven over him for much of his life, delaying the writing of his first symphony until he was in his early 40s. The resultant work, with its pounding timpani representing the hammer of fate, a glorious continuation of German symphonic tradition, justified the hesitancy. Ofttimes Brahms is rendered ponderously with the density of fudge, but Haitink took all the movements at a considerably faster speed; melodies and countermelodies flowed and swirled into each other with an almost Mozartean defiance of gravity. It was an intriguing argument, which worked. Lending clarity to James Sommerville (file photo) Brahms’s ropy counterpoint, it made a surprisingly good complement to the earlier piano concerto. The real bite in the articulation of the menacing viola section interjection in the first movement, the crisp conducting of Haitink and the intense pizzicato unison section, the glorious horn section in the dramatic moments, and the exquisite concertmaster/principal horn duet, all stood out. Surely we have one of the finest horn players on the planet in James Sommerville. Overall, a glorious concert, demonstrating that even warhorses can be revelatory with the right hands pulling the reins. Elisa Birdseye, executive director of the Boston Chamber Ensemble, is an active freelance violist and principal violist of the New Bedford Symphony. Additionally, she has worked as the general manager of the New England Philharmonic and Boston Musica. The post BSO Warhorses Well Led appeared first on The Boston Musical Intelligencer .