Schumann: Adagio and Allegro in A flat major, Op. 70

This page lists all recordings of Adagio and Allegro in A flat major, Op. 70, by Robert Schumann (1810-56) on CD, SACD, DVD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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A noble and melancholy instrument

A noble and melancholy instrument


Beethoven:

Horn Sonata in F major, Op. 17

Dukas:

Villanelle

Glazunov:

Reverie, Op. 24 for French horn

Rossini:

Prelude, Theme & Variations

Saint-Saëns:

Romance, Op. 67

Schumann:

Adagio and Allegro in A flat major, Op. 70

Strauss, F:

Nocturno, Op. 7


Alec Frank-Gemill (horn) & Alasdair Beatson (piano)

The 19th century saw huge developments in the design of many musical instruments. In some cases changes were adopted more or less universally: the fortepiano that Mozart knew, a five-octave instrument constructed entirely of wood, had by around 1900 grown into the modern grand piano with over seven octaves and a cast-iron frame. With other instruments, progress was less streamlined. As late as 1865, the natural, valveless horn of Beethoven's time remained the instrument of choice for Brahms when he wrote his famous Horn Trio, and when valves began to be introduced, makers and musicians in Germany, France and Vienna favoured different solutions, offering different results in terms of sound and requiring different playing techniques. The present disc is a unique combination of recital and history lesson, with a young British team performing music from between 1800 and 1942 on no less than eight different historic instruments: four horns and four pianos. This gives us the opportunity to hear the works on instruments that the different composers would have recognized, whether Beethoven's Sonata in F major (a natural horn from 1800 and a fortepiano from 1815) or the Villanelle by Paul Dukas from 1906 (an early 20th-century cor à pistons and a Bechstein from 1898). Both notable performers on modern instruments, Alec Frank-Gemmill and Alasdair Beatson here revel in the sonic possibilities offered by the historic instruments with results that are as delighting as they are enlightening.

“[the playing and musicians are of] a high calibre, virtuosic and technically flawless, but with real emotional depth. And such is the variety here, there is bound to be at least one piece that steals your melancholy heart.” The Herald (Glasgow), March 2017

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Heartfelt - Romantic Works for Horn

Heartfelt - Romantic Works for Horn


Brahms:

Horn Trio in E flat major, Op. 40

Mathieu van Bellen (violin)

Pilss:

Three Pieces in the Form of a Sonata for Horn and Piano

Schubert:

Auf dem Strom, D943, Op. post. 119

Karin Strobos (mezzo)

Schumann:

Adagio and Allegro in A flat major, Op. 70


Rob van de Laar (horn), Thomas Beijer (piano)

The young Dutch horn player Rob van de Laar, Principal Horn of the Mozarteum Salzburg, has just been awarded the Dutch Music Prize, The Netherlands’ highest state accolade in classical music. He makes his solo recording debut with ‘Heartfelt’ on Challenge Classics, an SACD of Romantic music by Brahms, Schumann, Schubert and the little-known Austrian composer Karl Pilss.

The disc opens with two of the great pieces of the German Romanticism for Horn. Brahms’ Horn Trio was composed in 1865, during a peaceful summer at Clara Schumann’s house in the Black Forest. Schumann wrote his Adagio and Allegro in 1849, one of a series of miniatures for different solo instruments and piano that he composed that year in Dresden. Schumann was among the first to explore the expanded possibilities offered by the new valve horn.

Schubert wrote his song ‘Auf dem Strom’ in 1828, the final year of his short life, to a text by Ludwig Rellstab. It was composed for a concert, at the Vienna Musikverein, marking the first anniversary of the death of Ludwig van Beethoven on 26 March. Schubert, who was a great admirer of Beethoven, saw his opportunity to compose a special song as an ode to the master, adding a dazzling part for the French horn.

The Viennese composer Karl Pilss (1902-1979) is perhaps best known among brass players, having written concertos for trumpet, horn and bass trombone, as well as a number of works for brass ensemble. The influences of Richard Strauss, Gustav Mahler and his composition teacher Franz Schmidt can be clearly heard in his music. The ‘Tre pezzi in forma di sonata’ date from 1924.

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Schumann: Chamber Music

Schumann: Chamber Music


Schumann:

Andante and Variation for two pianos Op. 46

Vladimir Ashkenazy, Malcolm Frager (pianos), Amaryllis Fleming, Terence Weil (cellos) & Barry Tuckwell (horn)

Study in Canonic Form, Op. 56 No. 4 in A flat major - Innig

Vladimir Ashkenazy, Malcolm Frager (pianos)

Adagio and Allegro in A flat major, Op. 70

Barry Tuckwell (horn) & Vladimir Ashkenazy (piano)

Romances (3), Op. 94

Heinz Holliger (oboe) & Alfred Brendel (piano)

Abendlied (No. 12 from Klavierstücke für kleine und große Kinder, Op. 85)

Heinz Holliger (oboe) & Alfred Brendel (piano)

Fantasiestücke, Op. 73

Franklin Cohen (clarinet) & Vladimir Ashkenazy (piano)

Stücke im Volkston (5), Op. 102

Mstislav Rostropovich (cello) & Benjamin Britten (piano)


Late in the 1840s, Schumann entered a chamber music phase. It was, it is said, motivated partly by financial reasons – creating a body of chamber works that could be played by talented amateurs in their own homes. Many of the works on this disc date from 1849. Significantly, for collectors, one of these – the Andante and Variations – receives its first release on CD and marks Vladimir Ashkenazy’s first recording of chamber music for Decca. The same sessions also included duo piano recordings with Malcolm Frager, from which the Study in Canon Form emanates. Other notable duo collaborations on this disc include Rostropovich and Britten (Fünf Stücke im Volkston), Holliger and Brendel (Drei Romanzen, Abendlied) and Ashkenazy with Tuckwell in the 1974 (Adagio and Allegro) and with Franklin Cohen in 1990 (Fantasiestücke).

“Schumann played by such luminaries as Ashkenazy, Holliger and Brendel, culminating in a spellbinding account by Rostropovich and Britten of the five cello and piano pieces Op. 102.” BBC Music Magazine, August 2013 *****

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Schumann: Chamber Music

Schumann: Chamber Music


Schumann:

Adagio and Allegro in A flat major, Op. 70

Richard Watkins (horn) & Ian Brown (piano)

Märchenbilder (4), Op. 113

Lawrence Power (viola) & Ian Brown (piano)

Fantasiestücke, Op. 73

Richard Hosford (clarinet) & Ian Brown (piano)

Märchenerzählungen (4) for Clarinet, Viola & Piano, Op. 132

Richard Hosford (clarinet), Lawrence Power (viola) & Ian Brown (piano)

Romances (3), Op. 94

Gareth Hulse (oboe) & Ian Brown (piano)

Violin Sonata No. 1 in A minor, Op. 105

Marianne Thorsen (violin) & Ian Brown (piano)


Among Schumann’s inspired late chamber works is a collection of music for more unusual instruments, composed in a concentrated flurry of creativity between 1849 and 1853 and written specifically for particular players, and it is to these exquisite short works that the world-famous Nash Ensemble turns its impeccable collective musicianship.

While Schumann modelled his music specifically to the timbres of the instruments he wrote for—piano, violin, horn, clarinet and oboe—he also arranged these pieces for alternative instruments with an eye to maximizing sales. Here, however, the soloists from The Nash Ensemble present the works in their original scoring in what are bound to be definitive performances—the delicious Fantasiestücke for clarinet, and the fiery and lyrical Märchenbilder, which feature star British viola player Lawrence Power. Other delights include the Adagio and Allegro for horn, a brilliant showpiece, the Violin Sonata No 1, Drei Romanzen for oboe and piano and the Märchenerzählungen for clarinet, viola and piano.

“The Nash players are British chamber-music royalty, but it is always an especial pleasure to hear the voluptuous viola sound of Lawrence Power in such an eloquent dialogue with Ian Brown’s piano in the too rarely heard Märchenbilder...A gorgeous, unmissable disc of great, too infrequently heard chamber music.” Sunday Times, 29th April 2012

“This is an admirably compilation of consistently fine performances of almost all of Schumann's shorter chamber music for one or two instruments and piano, and as such is most valuable as a collection...The performances throughout...are each beyond criticism. In particularly I admire also the slightly varied balance between the instruments...another fine record from this consistently first-class company.” International Record Review, May 2012

“how thoroughly each one of these performers warms to his or her allotted task (perhaps 'role' would be a better word), though it's violinist Marianne Thorsen and pianist Ian Brown in the Sonata who steal the show. It makes a superb finale to a disc that works equally well whether you sample individual pieces or savour it as a whole.” BBC Music Magazine, July 2012 *****

“affectionate and technically irreproachable performances...The five woodwind and string players of the Nash Ensemble respond ideally to this music - music which surely they have known and loved throughout ther playing lives - and Ian Brown is an ever-sensitive collaborative pianist...Unique and compelling from beginning to end.” Gramophone Magazine, September 2012

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Colours of the French Horn

Colours of the French Horn


Françaix:

Divertimento

Kirchner, T:

Tre poemi

Poulenc:

Elégie for horn and piano, Op. 168

Rossini:

Prelude, Theme & Variations

Schumann:

Romances (3), Op. 94

Adagio and Allegro in A flat major, Op. 70

Strauss, R:

Andante for Horn and Piano in C major, AV86a


Szabolcz Zempléni (horn) & Peter Nagy (piano)

In 2005, Szabolcz Zempléni won First Prize in the International ARD Music Competition in Munich and since then has pursued an international career. Having worked under the direction of Ivan Fischer, Yakov Kreizburg and Jonathan Nott previously, here he performs works by Strauss, Schumann, Rossini, Françaix, Poulenc and Kirchner.

“Szabolcs Zempléni’s lovely horn sound will convince you. It’s beautifully coloured, rich and with a soft vibrato which never gets in the way. His playing is ripely assertive but never too loud or overbearing – this is a disc of horn and piano works, not a solo recital...A horn recital disc for those who think they don’t like horn recitals.” Graham Rickson, The Arts Desk, 16th July 2011

Oehms - OC789

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The Artistry of Dennis Brain

The Artistry of Dennis Brain


Beethoven:

Horn Sonata in F major, Op. 17

with Denis Matthews (piano)

Dittersdorf:

Partita in D major: 4th movement - Minuet and Trio

ed. Haas

London Baroque Ensemble, Karl Haas

Dukas:

Villanelle

with Gerald Moore (piano)

Haydn:

Symphony No. 31 in D major ‘Horn Signal': Allegro

with Neill Sanders, Edmund Chapman, Alfred Cursue (horns) & Gareth Morris (flute)

Orchestra, Jack Westrup

Mozart:

Divertimento No. 16 In E Flat Major K289 For 2 Oboes, 2 Horns & 2 Bassoons

Dennis Brain Wind Ensemble

Quintet for Piano and Winds in E flat, K452

with Colin Horsley

Dennis Brain Wind Ensemble

Horn Concerto No. 2 in E flat major, K417

Philharmonia Orchestra, Walter Susskind

Mozart, L:

Concerto for hosepipe & strings (third movement)

Hoffnung Symphony Orchestra, Norman Del Mar

Schumann:

Adagio and Allegro in A flat major, Op. 70

with Gerald Moore (piano)


The cheapest, most attractively presented and most comprehensive single disc (78 minutes) of Dennis Brain in today’s market.

Haydn, Mozart, Beethoven, Schumann, Dittersdorf, Dukas and an excerpt from the Hoffnung Music Festival, 1956.

Newly re-mastered.

‘He was innately musical in a way which defies description or analysis. He shaped phrases with an instinctive rightness that seemed inevitable. Technical problems did not exist for him. He had tamed the most notoriously intractable of all instruments to be his obedient servant and raised it again to sing the song the sirens sang.’ Walter Legge

Regis - RRC1363

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Beethoven & Schumann - Chamber Music

Beethoven & Schumann - Chamber Music


Beethoven:

Serenade in D major for Flute, Violin and Viola, Op. 25

Septet in E flat major, Op. 20

Schumann:

Adagio and Allegro in A flat major, Op. 70


Beethoven was most distressed when he discovered that of all his recent compositions, it was his Septet that was gaining greatest favour by Viennese audiences. He considered it somewhat unworthy of himself! Yet, the music continues to endure and this marvellous recording is now coupled on CD with the more intimate Serenade as well as Schumann's Adagio and Allegro for horn and piano. All recordings are released internationally on CD for the first time.

"(Septet) ...if it is to be attacked with seemingly youthful vigour, then clearly the Melos Ensemble are the players willing and able to do it..." Gramophone.

Australian Eloquence - ELQ4802155

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Schumann - Symphonies Nos. 1 & 2

Schumann - Symphonies Nos. 1 & 2


Schumann:

Symphony No. 1 in B flat major, Op. 38 'Spring'

Symphony No. 2 in C major, Op. 61

Adagio and Allegro in A flat major, Op. 70

Edmund Leloir (horn)

Cello Concerto in A minor, Op. 129

Maurice Gendron (cello)

Piano Concerto in A minor, Op. 54

Dinu Lipatti (piano)

Manfred Overture, Op. 115


The Decca Ansermet Legacy on Eloquence continues to garner the highest plaudits from publications all around the world and the latest batch presents the maestro’s recordings of four key Austro-German Romantics: Schubert, Weber, Mendelssohn and Schumann. This 2-CD set brings together all of Ansermet’s Schumann recordings for Decca.

Ansermet’s Schumann is generally unforced and relaxed, with all but the Piano and Cello Concertos making their first international appearance on CD. In the Piano Concerto – a live radio broadcast recording with Lipatti, newly remastered for this release – Lipatti seems to drive the orchestra to new levels of excitement.

As with many of the (relatively few) concertante works Ansermet recorded, the soloists are drawn from the orchestra – as is the case with Edmund Leloir, principal horn of the OSR from 1952-77, for the Adagio and Allegro, originally for horn and piano and, for this recording, orchestrated by Ansermet. Maurice Gendron, soloist in the Cello Concerto, was one of Jacqueline du Pré’s teachers. The Schumann concerto was one of his specialties; he frequently played it when he was invited to appear with orchestras.

“Gendron's performance is instinct with poetry, and, with Ansermet, he achieves a lucidity of expression which is very taking … artistic integrity and understanding which is utterly remarkable” Gramophone

[Schumann's' Symphony No 1] “…a wonderfully light and graceful performance” Gramophone

[Lipatti's Schumann] “…a deeply moving performance. Lipatti plays con amore, almost as if aware the opportunity might never come again” Gramophone

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Schumann - Music for cello and piano

Schumann - Music for cello and piano


Schumann:

Fantasiestücke, Op. 73

Adagio and Allegro in A flat major, Op. 70

Violin Sonata No. 3 in A minor, WoO 27

arranged by Steven Isserlis

Abendlied (No. 12 from Klavierstücke für kleine und große Kinder, Op. 85)

Romances (3), Op. 94

Stücke im Volkston (5), Op. 102


‘There is no composer to whom I feel closer than to Schumann. He has been a beloved friend since I was a child; I remain as fascinated today as I was then by his unique blend of poetry, ecstatic strength and confessional intimacy.’ Steven Isserlis’s own words give the background to this fascinating disc.

Schumann’s affection for the cello ran deep. It was an instrument he had played in his youth, and considered taking up again when, at the age of twenty-two, an accident to his hand forced him to relinquish his dream of being a virtuoso pianist. ‘I want to take up the violoncello again (one needs only the left hand for this) and it will be very useful to me in composing symphonies’, he wrote to his mother. The sound of the cello played without the right hand would have been somewhat minimalist; but his love for the instrument is clearly demonstrated by the cello parts in all four of his symphonies, as well as in the concertos for piano and violin, and of course throughout his chamber music. As the great musicologist Donald Francis Tovey put it: ‘The qualities of the violoncello are exactly those of the beloved dreamer whom we know as Schumann.’

“Isserlis’s passion for Schumann overcomes the composer’s threadbare cello repertoire with this selection of works. But Abendlied still charms, an octave down, and the Stücke im Volkston is a blast of untranscribed Technicolor, picked out with vigour, charisma and delicacy.” The Times, 28th February 2009 ***

“This music sings and soars, flying to the instrument's highest reaches with dreamy eloquence and a sense of rightness, even though some of the works were intended for other instruments...with pianist Dénes Várjon as equal partner, [Isserlis] plays with fierceness and soul.” The Observer, 21st February 2009

“The really exciting performance here is Steven Isserlis's transcription of Schumann's valedictory Third Sonata: it's as if he's been preparing all his life to launch into its dark storm. This fabulously virtuosic and psychologically complex work forces his musicianship up to a new level. It's full of fiendish passages, lying extremely awkwardly on the instrument, but, even in the Finale, Isserlis masters these explosive flourishes and has the vital impetus to make an eccentric work feel whole.” BBC Music Magazine, April 2009 *****

“Perhaps the most ravishing item on the disc is the poignant Abendlied, arranged by Joachim from its piano duet form but then further borrowed by Isserlis, playing it down an octave. In his hands it's as moving a wordless Lied as anything you could imagine. For all that Isserlis has made many wonderful recordings, not least his seminal Bach Suites, I think this might just be his finest yet, with warmly detailed sound... and a typically acute note from the cellist himself.” Gramophone Magazine, May 2009

“If the Five Pieces in Folk Mode, Op 102, actually written for the cello, stand out from the rest, the whole programme is a delight, as both artists catch the music’s poetic ebb and flow to perfection” Sunday Times, 15th March 2009 ****

“Steven Isserlis has long been a stalwart champion of Schumann, through his advocacy of not only the often-maligned Concerto but also the chamber works. For this disc he has had to beg, borrow and steal but the results absolutely justify the means.
In the wrong hands, a work such as the Fantasiestücke, Op 73 (which Isserlis plays in its earliest incarnation), can sound a touch seasick, with too much swelling through every phrase, and a loss of the overall shape as a result. But how well Isserlis paces everything; some of his tempi are quite spacious but this gives the music a wonderfully considered and luxuriant aspect; the results never ever sound contrived. That's partly to do with Isserlis's sound (extravagantly he uses not one but two Strads on this recording), which has a very focused centre to it, but also his utterly innate relationship with pianist Dénes Várjon.
Perhaps the most ravishing item on the disc is the poignant Abendlied, arranged by Joachim from its piano duet form but then further borrowed by Isserlis, playing it down an octave. In his hands it's as moving a wordless Lied as anything you could imagine.
The substantial work here, though, is the Third Violin Sonata. Two of its movements – the Intermezzo and finale – originated in the multi-composer 'FAE' Sonata written for Joachim (for which Brahms famously wrote the Scherzo). Schumann later added two more movements to form his last large-scale work. It decisively refutes the theory that he had – metaphorically and literally – lost the plot by this stage. While it certainly doesn't conform to standard 19th-century sonata form, in Isserlis's hands it's a work of compelling power, whether in the terrifying scherzo sections of the second movement or the dreamy Intermezzo, a muchneeded point of repose in a work of great tumult.
The disc ends with the Fünf Stücke im Volkston, and finds Schumann in a more folky idiom. Too often these pieces can sound like an awkward amalgam of styles, but Isserlis again is utterly inside them, revealing Schumann's innovation even at this late stage, from the edginess of the first, via the tender, Brahmsian second one to the spirited fifth piece, where Mendelssohn collides with Bartók.
For all that Isserlis has made many wonderful recordings, not least his seminal Bach Suites, this might just be his finest yet, with warmly detailed sound and a typically acute note from the cellist himself.”
Gramophone Classical Music Guide, 2010

“For any collector wishing to explore Schumann's music for cello and piano, Isserlis and Varjon are the obvious partnership of choice, and it is hard to imagine such superlative performances being easily matched, even less displaced.” International Record Review, July/August 2011

GGramophone Magazine

Editor's Choice - May 2009

Hyperion - CDA67661

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$14.25

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Just a motion on the air

Just a motion on the air

Works for viola & piano by Ernst Krenek & Robert Schumann


Krenek:

Vocalise WoO 83

(arr viola & piano)

Jens Elvaker (piano)

Sonata for viola and piano, Op. 117

Jens Elvaker (piano)

Viola Sonata, Op. 92 No. 3

Fünf Lieder nach Franz Kafka, Op. 82 No.1

(arr viola & piano)

Jens Elvaker (piano)

Fünf Lieder nach Franz Kafka, Op. 82 No. 3

(arr viola & piano)

Jens Elvaker (piano)

Fünf Lieder nach Franz Kafka, Op. 82 No. 5

(arr viola & piano)

Jens Elvaker (piano)

Schumann:

Adagio and Allegro in A flat major, Op. 70

(arr viola & piano)

Gilad Katznelson (piano)

Du Ring an meinem Finger (No. 4 from Frauenliebe und Leben, Op. 42)

(arr viola & piano)

Gilad Katznelson (piano)

Er, der Herrlichste von allem (No. 2 from Frauenliebe und Leben, Op. 42)

(arr viola & piano)

Gilad Katznelson (piano)

Märchenbilder (4), Op. 113

(arr viola & piano)

Gilad Katznelson (piano)

Mit Myrten und Rosen (No. 9 from Liederkreis, Op. 24)

(arr viola & piano)

Gilad Katznelson (piano)

Stille Tränen, Op. 35 No. 10

(arr viola & piano)

Gilad Katznelson (piano)

Widmung, Op. 25 No. 1

(arr viola & piano)

Gilad Katznelson (piano)


Tatjana Masurenko (viola)

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