Schumann, Clara: Romances (3), Op. 22 (Drei Romanzen)

The Violin Sonata No. 1 was written in 1851, at a time when Robert Schumann was – as expressed to his biographer Wasiliewsky – ‘very annoyed with certain people’, which may have been a reference to the tensions that existed between the composer and the Düsseldorf Musikverein. Schumann expressed his feelings of annoyance in the baroque-style finale through an air of robustness, even roughness, which sits in steep contrast with the fretful and tender opening movement. The public premiere was given by Ferdinand David and Clara Schumann in March 1852, but it was not until Joseph Joachim’s performance the following year that the work received the recognition it deserved.

Robert Schumann referred to the Violin Sonata as a ‘Duo’ with the two instrumentalists performing in equal partnership. In the Sonata by Johannes Brahms, on the other hand, the violin is always the principal voice, the piano never a competitor, but rather a subtle accompanist. Brahms wrote this work in memory of his godson, Felix Schumann, the youngest of Robert and Clara’s children, a gifted musician, who died tragically young of tuberculosis. He was only twenty-five. Clara Schumann was deeply moved by the piece, and particularly delighted by the finale with its quotation of ‘Regenlied’, one of her favourites among all of Brahms’s songs.

In her lifetime, Clara Schumann was best known as a great pianist, but up until her thirties she composed a fair amount of music, including a Piano Concerto, songs, and many piano pieces. Three Romances was the only work she wrote for the combination of piano and violin, and while the violin is allowed to sing out throughout, the subtlety and complexity of the piano part testify to its having been composed by a pianist of the first rank.

In 2002, at the age of twelve, Jennifer Pike notably became the youngest-ever winner of the BBC Young Musician of the Year competition. She has given performances throughout the UK and abroad and, now aged just twenty-three, is widely regarded as one of the finest violinists in Britain. Tom Poster is internationally recognised as a pianist of outstanding artistry and versatility, equally in demand as a soloist and as a chamber musician across an unusually extensive repertoire. The two performed together in the Concert for Violin, Piano, and String Quartet, featured on the recent disc of chamber works by Chausson with the Doric String Quartet (CHAN10754).

Following her critically hailed Deutsche Grammophon debut, Echoes of Time – and growing acclaim for her concert appearances – violin virtuosa Lisa Batiashvili meets every challenge of Brahms’s monumental Violin Concerto.

With maestro Christian Thielemann and the instrumentalists of the Staatskapelle Dresden, for whom German Romanticism is the birthright, Lisa Batiashvili’s elegant, eloquent artistry finds ideal partners. Meeting Thielemann exceeded all her expectations: “. . .his conducting was wild and fiery. At the same time I always had the feeling that I was being supported by the orchestra and that I had time to react.”

Rounding out the programme are Clara Schumann chamber pieces which Batiashvili plays together with young pianist Alice Sara Ott. For the first time in their careers they teamed up to play the three romances.

'Sinfonia in B' is Joseph Swensen’s orchestration of the little-known original version of Brahms’ B major piano trio. In Swensen’s own words: “Completed in 1854, it is the largest and arguably the most important of Brahms’ published early works, yet it remains nearly unknown to most musicians and music-lovers alike … The original Opus 8 is, for me, intriguing for many reasons. Not only is it a work of extraordinary quality and emotional depth, written by a composer just 21 years of age, but it is a quintessential example of Brahms’ ultra-romantic and forward looking early style.”

This disc also explores the young Brahms’ connection with Robert and Clara Schumann, with orchestrations and performances (as a violin soloist) by Swensen of miniature works by both composers – as well as extracts from the ‘F-A-E’ sonata, a joint composition by Brahms, Robert Schumann and Joseph Joachim based on the motto ‘Frei aber einsam’ / ‘free but lonely’ – Joachim’s personal motto.

Despite his love of the cello’s rich sonority and immense lyrical expressivity, Robert Schumann composed few works for that instrument, a situation frequently rectified, as here, by effective arrangements. Less well known, yet among her most successful compositions, are Clara Schumann’s exquisite Romances. A pupil of Rostropovich and winner of the First Prize and Gold Medal at the Third Tchaikovsky InternationalCompetition, Karine Georgian enjoys an international career as a performer and teacher. Dutch pianist Jan Willem Nelleke’s exceptional qualities as a duo partner have been widely recognised. “Everything Georgian plays is presented with the most succulent, glowing tone, the phrasing boundlessly ample.” Financial Times

Violinist Philippe Graffin’s second recording for Onyx sees him partnered once again by pianist Claire Désert, in Schumann’s highly charged second violin sonata and the delightful 3 Romances by Clara Schumann, composed for Joseph Joachim.

The concerto is a rarity – not the D minor violin concerto op. posth, but the composer’s arrangement of his much-loved cello concerto op.129.

Unusual and intelligent programming from Philippe Graffin, who is rapidly gaining a reputation as one of the most insightful and inquisitive violinists of our time.

Eric Speller’s passion for the oboe has led him to explore much less well known repertoire, so much so that some of these works are unpublished. He writes “The beautifully melodious and highly delicate phrases of the romances of Clara Schumann are matched with flair by the very contrasting variations of Kaiiliwoda.” Eric Speller is an all-round musician, dividing his time between the orchestra, chamber music, teaching and early instruments.

Robert and Clara Schumann personified all that was central to the spirit of the Romantic era and that was innermost to the concept of “Romanticism”. Both were musicians of extraordinary talent and remarkable character, with lives that were filled with youthful love as much as they were later clouded in tragedy.

It is thus fitting in 2010, the anniversary of Robert Schumann’s birth (1810) that this CD should emerge, combining, as it does, the music of both Robert and Clara. Its title, “Romantic Inspirations”, reflects on the great leitmotif in their lives and of their age.

With the music played by highly talented young soloists of Kronberg Academy Masters a particular frisson is added that will surely make this CD a wonderful testament to the creative genius of two extraordinary people.