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Clara Schumann: Deuxieme scherzo in C minor, Op. 14
Deuxieme scherzo in C minor, Op. 14
Clara Schumann: Variationen uber eina Thema von R. Schumann, Op. 20
Thema, ziemlich langsam
Variation I
Variation II
Variation III
Variation IV
Variation V - Poco animato
Variation VI
Variation VII
Clara Schumann: Soirees musicales, Op. 6
No. 1. Toccatina in A minor
No. 2. Notturno in F major
No. 3. Mazurka in G minor
No. 4. Ballade in D minor
No. 5. Mazurka in G major
No. 6. Polonaise in A minor
Clara Schumann: Variations de concert sur la cavatine du Pirate de Bellini, Op. 8
Introduction
Cavatine
Variation I - Andantino
Variation II - Molto gradioso, ma non troppo Allegro
Variation III - Brillante
Adagio quasi Fantasia a Capriccio
Variation IV - Brillante e passionate
Volante
Clara Schumann: 3 Romances, Op. 11
No. 1. Romance in E flat minor
No. 2. Romance in G minor
No. 3. Romance in A flat major
Clara Schumann: Piano Sonata in G minor
I. Allegro
II. Adagio
III. Scherzo
IV. Rondo
Clara Schumann: Romance in A minor
Romance in A minor
Clara Schumann: 4 Pieces caracteristiques, Op. 5
No. 1. Impromptu, "Le Sabbat"
No. 2. Caprice a la Bolero
No. 3. Romance
No. 4. Scene fantastique (Le Ballet des Revenants)
Clara Schumann: 4 Pieces fugitives, Op. 15
No. 1. Larghetto in F major
No. 2. Un poco agitato in A minor
No. 3. Andante espressivo in D major
No. 4. Scherzo in G major
Clara Schumann: Impromptu in G major, Op. 9, "Souvenir de Vienne"
Impromptu in G major, Op. 9, "Souvenir de Vienne"
Clara Schumann: Scherzo in D minor, Op. 10
Scherzo in D minor, Op. 10
Clara Schumann: 3 Romances, Op. 21
No. 1. Romance in A minor
No. 2. Romance in F major
No. 3. Romance in G minor
Clara Schumann: 3 Preludes and Fugues, Op. 16
I. Prelude I
II. Fugue I
III. Prelude II
IV. Fugue II
V. Prelude III
VI. Fugue III
Clara Schumann: 4 Polonaises, Op. 1
No. 1. Polonaise in E flat major
No. 2. Polonaise in C major
No. 3. Polonaise in D major
No. 4. Polonaise in C major
Clara Schumann: Caprices en forme de valse, Op. 2
No. 1. Caprice in C major
No. 2. Caprice in D major
No. 3. Caprice in E flat major
No. 4. Caprice in A flat major
No. 5. Caprice in B flat major
No. 6. Caprice in C major
No. 7. Caprice in A flat major
No. 8. Caprice in E flat major
No. 9. Caprice in D flat major
Clara Schumann: Romance variee in C major, Op. 3
Romance variee in C major, Op. 3
Clara Schumann: Valses romantiques, Op. 4
Valses romantiques, Op. 4
Clara Schumann: Romance in B minor
Romance in B minor
September 2007
“This four-CD album redresses a faulty or at least misunderstood balance. Superbly played and recorded, it prompts a sharp and necessary awareness of the full range of Clara Schumann's gifts. But whether you turn to the chirpy Scherzo from her single Piano Sonata or to the scintillating volante close to the Op 8 Variations you will be brilliantly surprised and subtly challenged.”
2010
“This four-CD album redresses a faulty or at least misunderstood balance. Superbly played and recorded, it prompts a sharp and necessary awareness of the full range of Clara Schumann's gifts. A deeply courageous woman who juggled her roles of wife, mother (to eight children), pianist and composer, she also bore the tragedy of her beloved Robert's collapse into insanity and the added complication of her relationship with Brahms with rare strength and fortitude. Certainly her Op 1 (composed when she was 11) suggests a startling precocity before her skill deepened over the years into music where outward conventions thinly disguise a highly personal and poetic nature. True, she pays loving tribute to her husband's work, but the listener should not be misled. Theirs was clearly a symbiotic relationship, and composing side by side during the early days of their legendary romance, Schumann both marvelled at and feared her gifts. Indeed, there is evidence to show that Clara felt over-shadowed ('I compose, too,' she asserted as she pushed her compositions under Robert's door) while Robert felt threatenend by his wife's celebrity as a pianist (the Tsar of Russia politely enquired of Clara, 'and is your husband also musical?'). Yet Clara always remained true to her own lights. And even when her veneration for others (to Chopin in the exquisite Nocturne from Op 6), is clear she always maintains her own voice. There are some strange prophecies (Alkan's Enrhythme molassique, for example, in her Le balletdes revenants from Op 5) as well as a capacity to wear her cap and gown with the best of them (the Op 16 Preludes and Fugues) or play her virtuoso trump cards with aplomb (Op 14 and the Agitato from Op 21). But whether you turn to the chirpy Scherzo from her single Piano Sonata or to the scintillating volante close to the Op 8 Variations you will be brilliantly surprised and subtly challenged. This issue is an invaluable addition to the catalogue.”
Deuxieme scherzo in C minor, Op. 14 
