Schumann: Piano Concerto in A minor, Op. 54

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Schumann & Tchaikovsky: Piano Concertos

Schumann & Tchaikovsky: Piano Concertos


Schumann:

Piano Concerto in A minor, Op. 54

Warsaw National Philharmonic Orchestra, Stanislav Wislocki

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Vienna Symphony Orchestra, Herbert von Karajan


“These are performances full of vibrant character and the stuff of which musical discoveries are made likewise for those new to repertoire and for older and even jaded listeners.” MusicWeb International, March 2013

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Schumann: Piano Concerto

Schumann: Piano Concerto


Schumann:

Piano Concerto in A minor, Op. 54

Introduction & Allegro appassionato in G major, Op. 92

Introduction and Allegro Op. 134


Angela Hewitt’s recordings of Schumann’s solo piano works for Hyperion have been described as ‘revelatory … something to cherish’ (Gramophone) and ‘unreservedly superb’ (The Guardian). Now she turns her attention to the works for piano and orchestra in a magnificent release which includes the beloved Piano Concerto in A minor—one of the most treasured concertos in the repertoire—and two other works also written for Clara Schumann.

Hewitt’s trademark clarity of line, and her technical control which never limits the expression of passion, are clearly in evidence. She is supported by the Deutsches Symphonie-Orchester Berlin and the brilliant Finnish conductor Hannu Lintu. A fascinating commentary by Hewitt herself completes this album which is sure to delight her ever-increasing legion of fans.

“The most striking thing about this recording on first encounter is not the elegant, fluent playing of Angela Hewitt (that's a given in all her performances) but the tempo of the closing allegro vivace...Hewitt and Hannu Lintu choose a surprisingly stately pace, reflecting Schumann's actual metronome marking...Her perfect handling of the breathtakingly lovely opening of the Introduction and Allegro appassionato would melt the hardest of hearts.” The Observer, 1st July 2012

“The sense of joy that infallibly emanates from Angela Hewitt’s piano playing is fully evident here...Hewitt understands the character and perspective of this music. There is no element of grandstanding in the Concerto. Nothing in the interpretation is gratuitously flamboyant. Rather, the piano enjoys intimate exchanges with the orchestra...Hewitt is [Clara's] natural heir.” The Telegraph, 6th July 2012

“Hewitt's touch, light and graceful, allows the work to unfold rather than gallop. The second movement is perhaps less convincing...but there's so much beauty, subtlety and originality in Hewitt's first movement that the ear longs for commensurate poeticism...Even if I didn't wholly buy into the Concerto's Intermezzo, this recording should be applauded for its passion, detail, courage and commitment.” BBC Music Magazine, August 2012 ****

“Her approach seeks the flow in the music, obtaining a legato in those accompanying moments where the orchestra takes the lead and adding texture rather than making musical points...This is the kind of recording which may surprise a little, but is also one which will gain your affection and provide increasing interest and insight with each airing.” MusicWeb International, August 2012

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Romantic Piano Concertos

Romantic Piano Concertos


Schumann:

Piano Concerto in A minor, Op. 54

Chicago Symphony Orchestra, Fritz Reiner

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

RCA Symphony Orchestra, Kyrill Kondrashin


Van Cliburn (piano)

Van Cliburn's extraordinary rise to fame in the late fifties was in no small part due to his performance of the Tchaikovsky concerto featured on this disc. This Regis release is a valuable document of the birth of a pianistic legend. The Schumann coupling shows a more introspective side to his musicianship.

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Schumann & Mozart: Sophie Pacini

Schumann & Mozart: Sophie Pacini


Mozart:

Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme"

Schumann:

Piano Concerto in A minor, Op. 54


Sophie Pacini (piano)

Deutsche Staatsphilharmonie Rheinland-Pfalz, Radoslaw Szulc

In 2011 Pacini won the Prix Marguerite Dütschler of the Sommets Musicaux de Gstaad. Born in Munich in 1991, her father an Italian professor of literature and her mother a German physician, Sophie Pacini began to play the piano comparatively late, at the age of six. However, her outstanding talent was recognised quickly: she made her debut with Haydn’s D major Piano Concerto in 2000. In 2002, aged 11, she became a student of Karl-Heinz Kämmerling at the Mozarteum in Salzburg. In 2004 she was admitted to the Mozarteum’s institute for highly talented musicians, where she studied not only the piano but also improvisation, aural theory, harmonics, composition and conducting. Since 2007 she has been studying in Pavel Gililov’s master class.

In 2010 Pacini auditioned for Martha Argerich and, after the Liszt Sonata, Argerich approached her, kissed her on the cheek and said: ‘You are very good. Do you know that?’ Since then their friendship has grown. Argerich recommended Sophie to Fou T’song and invited her to take part in the Progetto Martha Argerich in Lugano. They arrange to meet whenever possible. Martha Argerich and Sophie Pacini worked together on the preparation for this, her debut recording of an Argerich favourite – the Schumann concerto, and also on Mozart’s first great piano concerto, known as ‘Jeunehomme’. Named after a French keyboard player who was in Salzburg over the winter of 1776–7, nothing is known of her today, except that the 21-year-old Mozart wrote this remarkable concerto for her.

“Pacini (b1991) is a protegee of Martha Argerich and it shows...There's a similar air of in-the-moment rhapsodising and no fear of giving the performance a boot up the backside if she catches her accompanists napping...Pacini clearly has something to say in this music and the technique to do so. What is lacking, perhaps, is ability to take the long view and tie up all the works' episodes into a unified whole.” Gramophone Magazine, June 2012

“This debut reveals a sympathetic tone and an independent spirit which particularly suit the Schumann. Tempos are well-judged, with room for Pacini to explore the work's lyrical meditations. Certain issues between pianist and orchestra could have worked better...But Pacini is promising indeed, and one to watch for the future.” BBC Music Magazine, August 2012 ***

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Schumann & Grieg: Piano Concertos

Schumann & Grieg: Piano Concertos


Grieg:

Piano Concerto in A minor, Op. 16

Schumann:

Piano Concerto in A minor, Op. 54


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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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The Best of Schumann

The Best of Schumann


Schumann:

Piano Concerto in A minor, Op. 54

Plovdiv Philharmonic Orchestra

Kinderszenen, Op. 15: Träumerei

Bulgarian Broadcasting Symphony Orchestra

Symphony No. 4 in D minor, Op. 120

Sofia Philharmonic Orchestra

Fröhlicher Landmann, Op. 68 No. 10

Richard Tilling (piano)

Manfred Overture, Op. 115

Sofia Philharmonic Orchestra


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Reflection

Reflection


Brahms:

Cello Sonata No. 1 In E minor, Op. 38

Rhapsodies (2), Op. 79

Schumann:

Piano Concerto in A minor, Op. 54

Schumann, Clara:

Er ist gekommen in Sturm und Regen, Op. 12 No. 2 (Text: Friedrich Rückert)

Warum willst du and're fragen, Op. 12 No. 11 (Text: Friedrich Rückert)

Am Strande


“If you've heard this lovely work [the Concerto] once too often in a merely average performance, then drink deeply at Grimaud's spring, for you'll leave refreshed...not an overblown romantic gesture, and no cloying sentimentality; instead a strong, straightforward reading where every note seems just so, yet without feeling calculated.” Andrew McGregor, bbc.co.uk, 7th March 2006

“…even if her Schumann Concerto had come out on its own… I'd still strongly recommend it. From her first two forte chords it is clear this is going to be something special. Every single phrase, change of mood or colour, sounds as though it has been lovingly rediscovered.” BBC Music Magazine, February 2006 *****

“Hélène Grimaud presents us with a second lovingly themed gift, this time mirroring the entwined love of Robert and Clara Schumann and their adored protégé, Johannes Brahms. Grimaud's performance of Robert's Piano Concerto is a superbly bracing riposte to more indulgent and sentimental readings. Brilliantly partnered by Esa-Pekka Salonen, who conducts with all the joy of first discovery, she launches the work with fierce authority before playing the principal theme with a rare sense of its expressivo and affetuoso character. She is no less bold and impassioned partnering Anne Sofie von Otter, an ideal match for a singer whose intensity and vision leave you in no doubt that Clara was a more-than-gifted composer as well as a great pianist. ...joins Truls Mørk in the E minor Cello Sonata, where you get an almost palpable sense of the artists lifting each other to heights they might find hard to achieve alone. Few performances on record have a more robust eloquence and fervour.” Gramophone Magazine, February 2006

GGramophone Magazine

Editor's Choice - February 2006

CD Review

Critics Disc of the Year - December 2006

BBC Music Magazine

Orchestral Choice - February 2006

DG - 4775719

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Claudio Arrau

Claudio Arrau


Beethoven:

Piano Sonata No. 32 in C minor, Op. 111

Schumann:

Piano Concerto in A minor, Op. 54

Carnaval, Op. 9


Recorded 1961-1970

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Schumann: Concertos & Concert Pieces

Schumann: Concertos & Concert Pieces


Schumann:

Piano Concerto in A minor, Op. 54

Ingrid Haebler (piano)

Royal Concertgebouw Orchestra, Eliahu Inbal

Cello Concerto in A minor, Op. 129

Lynn Harrell (cello)

Cleveland Orchestra, Neville Marriner

Konzertstück for four horns, Op. 86

Dale Clevenger, Richard Oldberg, Thomas Howell, Norman Schweikert (horns)

Chicago Symphony Orchestra, Daniel Barenboim

Introduction & Allegro appassionato in G major, Op. 92

Vladimir Ashkenazy (piano & conductor)

London Symphony Orchestra

Introduction and Allegro Op. 134

Vladimir Ashkenazy (piano)

London Symphony Orchestra, Uri Segal

Violin Concerto in D minor, WoO 23

Joshua Bell (violin)

Cleveland Orchestra, Christoph von Dohnanyi

Overture, Scherzo, and Finale, Op. 52

Wiener Philharmoniker, Sir Georg Solti


A unique collection, bringing together Schumann's Concertos and concertante works, including the first international release of Ingrid Haebler's recording of the Piano Concerto and Barenboim's of the Konzertstuck for Four Horns. The unjustly neglected Concert Pieces, Opp. 92 and 134 are given glorious readings by Ashkenazy, and both the Cello and Violin Concertos receive admirable performances from Lynn Harrell and Joshua Bell, respectively.

“unlikely to be surpassed for a long time. (Violin Concerto)” Gramophone Magazine

“Every orchestral thread gleams ...the cellist's most confidential whisper (and there are many) is never lost. (Cello Concerto)” Gramophone Magazine

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