Schumann: Kinderszenen, Op. 15 (Scenes from Childhood)

This page lists all recordings of Kinderszenen, Op. 15 (Scenes from Childhood), 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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Haochen Zhang plays Schumann, Liszt, Brahms & Janacek

Haochen Zhang plays Schumann, Liszt, Brahms & Janacek


Brahms:

Intermezzi (3), Op. 117

Janacek:

Piano Sonata 1.X.1905 in E flat minor, JW VIII/19 'From the Street'

Liszt:

Ballade No. 2 in B minor, S171/R16

Schumann:

Kinderszenen, Op. 15


Haochen Zhang (piano)

In 2009, at the age of 19, Haochen Zhang became one of the youngest musicians ever to win the Van Cliburn International Piano Competition. Since then he has had a busy concert schedule, primarily in his native China and in the U.S.A. but also in Europe where he made his début at the BBC Proms in 2014. Recording has been less of a priority for Zhang, and it is only now that he releases his first studio album, recorded at the Reitstadel, the well-known audiophile venue in Neumarkt in Germany. For this recital, Haochen Zhang has devised a programme made up of works that he feels particularly close to. As he writes in his own liner notes, they ’not only speak to me in a very intimate way, but also connect with one another at a corresponding level of intimacy: as a whole they form a unique musical narrative.’ The pieces all share a reflective and introspective quality, albeit reflective in different ways. Opening the disc Schumann’s Kinderszenen were described by the composer as ‘reflections of an adult for adults’ and in the closing Op. 117 Intermezzi, Brahms also seems to be looking backwards – but with resignation rather than intimate tenderness. Framed by these two, the works by Liszt and Janá?ek contain overtly dramatic episodes, but contemplative interludes form a recurrent feature of the Ballade, and in Presentiment, the first movement of Janá?ek’s Sonata, the dark forebodings seem to rise up from the composer’s own soul.

“He captures the childish, quickly dissipating seriousness of Schumann’s Kinderszenen, and plays it with the kind of artistry that sounds sincerely artless. Liszt’s Ballade No 2 has Zhang creating great rumbling waves in the left hand, then closing in an atmosphere of hard-won peace...it certainly rewards close listening” The Guardian, 20th April 2017 ****

“His aim for lightness, transparency and directness yields poetic results…the rounded edges and polished passagework characterising Zhang’s Janácek are pianistically impressive, yet he glides over the music’s stark aura and speech-like syntax” Gramophone Magazine, May 2017

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Abrahamsen: Works for Wind Quintet

Abrahamsen: Works for Wind Quintet


Abrahamsen:

Landskaber

Walden (4)

Ravel:

Le Tombeau de Couperin

arr. for woodwind quartet by Hans Abrahamsen

Schumann:

Kinderszenen, Op. 15

arr. for woodwind quartet by Hans Abrahamsen


Ensemble MidtVest

Hans Abrahamsen (b. 1952), who received the Royal Philharmonic Society Award in 2015 and the Grawemeyer Award in 2016, is a unique voice in Nordic music. On this album, two of his earliest works bear witness to the composer’s strong ideal of a new, simple and objective kind of music. In Landscapes , Abrahamsen rediscovers expressiveness by peeling away superfluous complexity, while the lyricism of Walden rests on minutely controlled minimalism. The recording by Ensemble MidtVest also presents two transcriptions of music by Schumann and Ravel, composers who have inspired Abrahamsen with their naivistic and poetic musical universes.

“Hans Abrahamsen’s music is having a moment in the spotlight, and this is another excellent contribution from the Ensemble MidtVest” BBC Music Magazine, December 2016 ****

“Abrahamsen’s early works for wind quintet in fine accounts by Ensemble MidtVest.” MusicWeb International, 29th July 2016

Dacapo - 8226090

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Schumann: Kinderszenen, Papillons, Arabeske & Romanzen

Schumann: Kinderszenen, Papillons, Arabeske & Romanzen


Schumann:

Kinderszenen, Op. 15

Papillons, Op. 2

Arabeske in C major, Op. 18

Drei Romanzen, Op. 98


Catherine Collard (piano)

Erato - The Erato Story - 2564613833

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$8.00

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Schumann: Kinderszenen & Piano Concerto

Schumann: Kinderszenen & Piano Concerto


Schumann:

Kinderszenen, Op. 15

Piano Concerto in A minor, Op. 54

Hallé Orchestra, Sir Mark Elder


Martin Stadtfeld (piano)

Sony - 88875057912

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Schumann: Kinderszenen & Waldszenen & Janáček: On the overgrown path I

Schumann: Kinderszenen & Waldszenen & Janáček: On the overgrown path I


Janacek:

Along an Overgrown Path, JW VIII/17, Book 1

Schumann:

Waldszenen, Op. 82

Kinderszenen, Op. 15


Marc-André presents a fascinating juxtaposition of two composers who are not obviously musically related, but who are proved on this album to be a felicitous combination.

Schumann’s well-loved Kinderszenen (‘Scenes from childhood’) cycle is a masterpiece: each piece is as deftly and exquisitely crafted as anything in his more outwardly sophisticated mode. From the haunting beauty of the opening ‘From foreign lands and people’ (‘Von fremden Ländern und Menschen’), via the spare eloquence of the central ‘Dreaming’ (‘Träumerei’), to the quiet rhetoric of ‘The poet speaks’ (‘Der Dichter spricht’), the listener is taken through nuances of emotion whose effects are heartrendingly poignant.

Waldszenen (‘Forest scenes’) is another collection of miniatures, and Schumann’s last major cycle for solo piano. This deeply ‘Romantic’ work in the most psychological sense of the word is no objective foray into the woods, but a very personal reaction to an imagined landscape; and equally striking is the sense that each piece represents just a shard of a larger experience. On the whole it is the more bucolic aspect that Schumann explores, though these pieces are not without darker shadows. And while they may be technically fairly straightforward, their changeability calls for the quickest of reactions and a wealth of subtle nuance.

Over half a century separates Schumann’s nature-inspired Waldszenen from the first book of Janáček’s On the overgrown path. The subject matter is darker and more oblique and the piano writing is deceptively treacherous, many of the difficulties far from overt. The title of the overall cycle refers to a Moravian wedding song, the bride lamenting that ‘The path to my mother’s has become overgrown with clover’. The sequence of ten pieces that comprises Book 1 constitutes, as the scholar John Tyrrell has written, some of the ‘profoundest, most disturbing music that Janáček had written, their impact quite out of proportion to their modest means and ambition’.

“Time and again he makes you think vocally, of the range and flexibility of a great singer...the knife-edge between composer and interpreter, between creator and recreator is held in the finest balance.” Gramophone Magazine, June 2014

“Hamelin has already made several fine recordings of Schumann's piano music, focusing on big virtuoso pieces. He proves to be equally adept at exploring the more intimate side of the composer's character and the two Schumann cycles here are absolutely magical.” BBC Music Magazine, July 2014 *****

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Hyperion - CDA68030

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$14.25

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Katia Bronska plays Schumann & Chopin

Katia Bronska plays Schumann & Chopin


Chopin:

Mazurka No. 27 in E minor, Op. 41 No. 2

Nocturne No. 16 in E flat major, Op. 55 No. 2

Schumann:

Papillons, Op. 2

Kinderszenen, Op. 15


Katia Bronska (piano)

Katia Bronska is Polish by birth, Parisian by adoption. Acclaimed by the critics, she has captivated audiences around the world, meeting with success and triumph in great cities such as Paris, New York and London.

Her music shows a fascinating personality. She has caught the attention of great musicians such as Yehudi Menuhin, who wrote: "I have just heard Katia Bronska and I am thrilled! She plays Chopin's works with a precise and intrinsic rubato, with a tempo that leads you from one enchanting moment to the next." She was an exceptionally gifted child, who received the gold medal in Poland's National Piano Competition for Promising Young Talent at the age 12. She studied with the great piano teachers Krystyna Jastrzebska and Zbigniew Sliwinski, before going to work with some of the most distinguished professors in St Petersburg. She was awarded the Grand Prix of the Fondation de France (Prix Charles Oulmont) in 1987. Katia Bronska likes to perform in intimate communion with places and people. In her concerts she has her captivated listeners in raptures of emotion.

“Intimately recorded, these are unmannered performances of laudable integrity.” Gramophone Magazine, January 2013

Aparté - AP039

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Vladimir Horowitz plays Schumann

Vladimir Horowitz plays Schumann


Schumann:

Piano Sonata No. 3 in F minor, Op. 14 'Concerto Without Orchestra'

Variations (Impromptus) on a Theme by Clara Wieck, Op. 5

Kreisleriana, Op. 16

Kinderszenen, Op. 15

Toccata in C major, Op. 7


Sony Classical ORIGINALS offer listeners outstanding enjoyment, authentically recapturing the fascination of legendary recordings from the age of long-playing records and preserving worthwhile releases from two labels with particularly long and distinguished traditions: RCA Red Seal and Columbia Masterworks. These superb recordings by great artists have enjoyed international acclaim ever since they were first released. Showered with critical plaudits, they are part of the 20th century’s cultural legacy. All have been remastered and carefully restored using the latest studio technology in order to reproduce the original interpretations as faithfully as possible. The CD covers are taken over from the original LPs. The original introductions and LP labels are also reproduced in full, making Sony Classical ORIGINALS unique documents in the history of recorded sound.

Featuring original LP cover artwork in full size and reproduction of original labels in mini LP design.

Contains original liner notes in 3 languages (English, French and German) Jewel case packaging with fully coloured booklets.

The Sony Classical Originals bring together for the first time at the Mid Price the greatest recordings from across all of the labels which are part of the Sony Classical umbrella, and are a perfect starting point for any classical collector.

“There's nobody like Horowitz: he injects personality into every phrase. While there are perhaps hints of excess mannerism, the finest moments are unforgettable, such as the witchy close of Kreisleriana.” BBC Music Magazine, January 2012 ****

Building a Library

Second Choice (available as a single CD) - May 2014

Sony Originals - 88697858312

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Vladimir Horowitz plays Schumann

Vladimir Horowitz plays Schumann


Schumann:

Arabeske in C major, Op. 18

Kinderszenen, Op. 15

Toccata in C major, Op. 7

Fantasie in C major, Op. 17

Blumenstück, Op. 19


Sony Classical Masters - 88697719262

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Schumann: Davidsbündlertänze, Kinderszenen, Piano Sonata No. 2

Schumann: Davidsbündlertänze, Kinderszenen, Piano Sonata No. 2


Schumann:

Kinderszenen, Op. 15

Davidsbündlertänze, Op. 6

Piano Sonata No. 2 in G minor, Op. 22


Angela Hewitt has earned a richly deserved reputation for her interpretations of Bach and the Baroque, and something of that characteristic clarity illuminates her Schumann performances. Her first disc of this repertoire was praised for its ‘seemingly effortless but always adventurous interpretations … her poise and amplitude lending it an unearthly beauty’ and this second volume, containing some of the composer’s most bewitchingly beautiful music, should be no less lauded.

“The formal clarity of Hewitt's playing, together with the crispness of her articulation, gets her a long way in the sonata, whose technical demands are not to be underestimated...There's still an impressive sheen to everything Hewitt does” The Guardian, 25th November 2010 ****

“Hewitt conveys with intensity and brilliance the mounting tension, rapture and visceral drive that Schumann’s markings are surely meant to encourage...throughout the set Hewitt’s palette of colour is chosen with the utmost discretion and aptness.” The Telegraph, 26th November 2010 *****

“Her awareness of counterpoint and her skill at putting it across suits Schumann's colourfully woven textures to perfection. Davidsbündlertänze benefits from fine-pointed voicing, and her sense of light, springing rhythm keeps the élan flying, stopping the music from ever getting too bogged down” BBC Music Magazine, Christmas 2010 *****

“Everything is played as if in the heat of first inspiration, a reflection, perhaps, of a recreative richness mirroring Hewitt's encompassing and versatile repertoire. Few pianists are so brilliantly alive to every passing fancy and whimsicality. And again, few performances could be less studio-bound, more fleet, hallucinatory and above all more deeply imaginative.” Gramophone Magazine, December 2010

Hyperion - CDA67780

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Horowitz in Hamburg - The Last Concert

Horowitz in Hamburg - The Last Concert


Chopin:

Mazurka No. 25 in B minor, Op. 33 No. 4

Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Liszt:

Soirées de Vienne: valse-caprice No. 6 (after Schubert), D427 No. 6

Moszkowski:

Étincelles, Op. 36 No. 6

Encore

Mozart:

Rondo in D major, K485

Piano Sonata No. 13 in B flat major, K333

Schubert:

Moments Musicaux, D780: No. 3 in F minor

Encore

Schumann:

Kinderszenen, Op. 15


On 21 June 1987, before an ecstatic audience in Hamburg’s Musikhalle, 83-year-old Vladimir Horowitz gave the last concert of a career that stretched over nearly seven decades. The recital, taped by North German Radio (NDR), lay in their archives virtually untouched for more than 20 years (one encore was included in Deutsche Grammophon’s anthology The Magic of Horowitz in 2003). It is now being released in its entirety for the first time in any format. The repertoire is familiar, with Mozart and Schumann (Kinderszenen op. 15) to the fore. There is a last heroic assault on Chopin’s Polonaise in A flat op. 53 and the final scintillating encore is Moszkowski’s Etincelles, a Horowitz evergreen. The recording provides a unique souvenir of Horowitz’s final public appearance, where the sense of occasion and immediacy is palpable.

“One comes away dazzled by the unique sonority imagination and élan of this extraordinary musician.” Gramophone Magazine, July 2008

“In a programme of Mozart, Liszt, Schumann, Chopin, Schubert and Moszkowski, Vladimir Horowitz demonstrates his guiding principle that the piano should be made to sing. There is a beautifully shaped, lyrical quality to his playing, allied to intuitive musical characterisation and a magical sense of intimacy” The Telegraph, 16th August 2008

DG - 4777558

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$13.00

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