Schumann: Faschingsschwank aus Wien, Op. 26 (Carnival in Vienna)

Since his first release for Virgin Classics, Beethoven’s Diabelli Variations in 2000, Polish pianist Piotr Anderszewski’s has produced a catalogue which ranges from Bach and Mozart, through more Beethoven to Chopin, Szymanowski and Webern, and which includes several prizewinning recordings.

Both intellectual and inspirational, Anderszewski has said of musical interpretation: “One can speculate endlessly about the right ingredients, the perfect combination but the essential question remains unanswerable, lying far beyond the limits of the cleverest and most refined argument. And yet one goes on searching and, while realising that the search is about everything, the essence may yet reveal itself in the most unexpected way.”

This new release captures live performances by Anderszewski at a very recent recital – December 2008 – in New York’s legendary Carnegie Hall. The critic of the New York Times made clear that this was an exceptional musical experience.

After a performance so intense and draining, the notion of encores almost seemed superfluous. But Bartók’s Three Hungarian Folksongs from the Csik District had a welcome earthiness”

Anderszewski repeated the programme in Chicago shortly afterwards, and the response of the Chicago Sun Times was at a similar level of enthusiasm:

“There is something deeply comforting about the kind of perfection that Polish-Hungarian pianist Piotr Anderszewski brought to his program of Bach, Janácek and Beethoven … Perfection is a relative term when it comes to art, of course. There are myriad but equally valid ways to play a Bach partita or Beethoven sonata … Different artists plumb different facets in a piece of music, and listeners can only benefit from hearing what each one has managed to unearth.

But during the two hours or so that they are onstage, artists like Anderszewski manage to create a universe that seems utterly complete unto itself. There is a sense of inevitability in their performance, a feeling that the true essence of a composer's intentions has been discovered. Especially when our daily lives are battered by forces beyond our control, it is reassuring to spend an afternoon in a world of such richly calibrated balance.“

“It can be hard not to wax hyperbolic when confronted with the pianist Piotr Anderszewski’s sensitive touch and potent imagination.” New York Times

Alicia de Larrocha was, for long, an exclusive Decca artist, and besides making seminal recordings of Spanish repertoire, at which she excelled, she was also a Bach, Mozart, Schubert and Schumann player par excellence. She recorded Schumann's Carnaval twice for Decca and it's her earlier (1978) analogue version we release here. Together with Kreisleriana and the eighth Novelette - both recorded in 1971 - this is its first release on CD. This is Romantic piano music par excellence, complete with codes and ciphers from Robert to his beloved Clara, and Larrocha's playing has both tenderness and sweeping passion.

A legendary suite of interpretations from Svjatoslav Richter. He played Schumann primarily in the seasons 1955-71, his tormented spirit indentifying with another lost poetic soul.

The fourth installment of the first true complete recording of Schumann’s piano works. No competition exists for this compilation anywhere and previous volumes have gained great support and reviews from the media and public alike. The entire production has been supervised by Schumann expert Joachim Draheim.

An Album of popular and not so well known romantic piano works.

Helen Reid makes her debut for Omnibus Classics

Helen Reid first came to public attention when she reached the Keyboard finals of the BBC Young Musician of the Year. She has given recitals at venues including the Wigmore Hall, Purcell Room, Fairfield Halls and Blackheath Halls, London, St. George’s, Bristol, Cheltenham, the Bridgewater Hall, Manchester and the Aldeburgh and Buxton Festivals. In 2006 she was named a ‘rising star’ in The Independent. Helen is professor of piano at the Guildhall School of Music and Drama and Trinity College of Music Junior Department.

“It was clear we were in not only capable but rather a special pair of hands…Reid’s beautifully poised, tenderly imagined and finely focused playing re-educated and refined the ear.” Hilary Finch, The Times

This is Sachiko Furuhata-Kersting’s Oehms Classics debut. Her recital programme shows fascinating links between works by Mendelssohn, Schumann and Liszt. Schumann’s Faschingsschwank Op.26 is clearly influenced by Mendelssohn’s Songs Without Words.

Released to coincide with the 200th anniversary of the birth of Schumann, this well balanced recording features the talents of piano prize winning pianist, Liebrecht Vanbeckevoort. Liebrecht obtained his masters degree for piano with great distinction from the Royal Conservatory in Brussels and has a very active touring schedule.