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Soo Park - Robert Schumann: Letzter Gedanke / Dernière Pensée (2016)

21-06-2016, 18:45
Classical Music | Instrumental | FLAC / APE

Title: Robert Schumann: Letzter Gedanke / Dernière Pensée
Year Of Release: 2016
Label: Herisson
Genre: Classical, Piano
Quality: FLAC (tracks)
Total Time: 01:20:28
Total Size: 292 Mb


Sechs Stücke in kanonischer Form in C Major (Studien für den Pedalflügel), Op. 56
01. I. Nicht zu schnell 02:03
02. II. Mit innigem Ausdruck 04:33
03. III. Andantino.Etwas schneller 01:45
04. IV. Innig 03:58
05. V. Nicht zu schnell 02:24
06. VI. Adagio 03:47

Waldszenen, Op. 82
07. Eintritt 02:12
08. Jäger auf der Lauer 01:31
09. Einsame Blumen 02:03
10. Verrufene Stelle 03:20
11. Freundliche Landschaft 01:15
12. Herberge 02:02
13. Vogel als Prophet 03:38
14. Jagdlied 02:35
15. Abschied 03:48

Drei Fantasiestücke in C Minor, Op. 111
16. 1. Sehr rasch,mit leidenschaftlichem Vortrag 02:38
17. 2. Ziemlich langsam 05:12
18. 3. Kräftig und sehr markiert 04:17

Gesänge der Frühe in D Major, Op. 133
19. I. Im ruhigen Tempo 02:57
20. II. Belebt,nicht zu rasch 02:40
21. III. Lebhaft 02:29
22. IV. Bewegt 03:06
23. V. Im Anfange ruhiges ,im Verlauf bewegteres Tempo 03:02

Thema mit Variationen in E-Flat Major (Geistervariationen), Anh.F39
24. Thema. Leise, innig 02:16
25. Variation I 01:57
26. Variation II. Canonisch 02:17
27. Varariation III. Etwas belebter 02:02
28. Variation IV 02:21
29. Variation V 02:21

Soo Park, Mathieu Dupouy (tracks: 1-6) - Piano
Robert Schumann (1810-1856) - Composer

Robert Schumann is one of a number of 19th century artists whose creativity was dogged by mental illness. Others included Hölderlin, Nerval, Maupassant, Nietzsche, Wolf... In the case of Schumann, the works he wrote at the end of his life have particularly suffered from being seen solely through this prism, which has only served to cloud perceptions of them. Madness in no way helps us understand Schumann’s late style. On the contrary, it creates a barrier to understanding by focusing our attention on biographical considerations to the detriment of the works themselves. The problem is that it was not Schuman the composer who was mad, but Schumann the man.
For Schumann, 1845 was the year of Fugenpassion. He became passionately interested in counterpoint, resulting in a new language: Schumann’s late style. The late style of great composers has always provoked ambivalent reactions, between fascination and incomprehension. In the case of Schumann, his late style has only been re-evaluated very recently. What are its characteristics? The implacable logic of counterpoint, disdain for convention, the perfume of eternity and retreat from the world... The style had no real immediate heirs. Rather than Brahms, it is in Bill Evans that certain of his harmonies can be detected...
Second part of a collaboration between Label-Hérisson and the Musée de la Musique (Paris), this recording is an opportunity to hear the precious pianoforte Gebauhr (1850), newest addition to the collections of the museum.

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tiger   User offline   23 June 2016 19:35

Thanks a lot.

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