Schumann's Shoebox

[Bogey]

I have been lately enjoying this recording by Matthias Goerne and Vladimir Ashkenazy

[asin]B0000069D8[/asin]

Just added to my wish list.

[Klaze]

I have only recently become acquainted with a few of the piano works outside of the famous ones. Pieces like 6 Etudes in canon form (op.56), Gesange der Fruhe, and I enjoy them a lot. What are some other, relatively more obscure solo piano works which you think are worthwhile? I have been looking at the Le Sage set, but because of the mixed reviews, I'm not so sure if i should go for that one

[Jo498]

Not sure if these are the ones you mean, but the canonical studies op. 56 originally for pedal piano are wonderful. Despite the canonical form they do not at all sound like studied counterpoint exercises.
I have never heard the original version on a Pedalflügel, but the arrangements for piano trio and (I think) 4 handed piano (or two pianos?) will do. 

[Klaze]

Yeah thanks, that's the piece I meant, I love it. I especially liked the one on the Gaia Scienza disc, other performance i have is by Anderszewski.

[ZauberdrachenNr.7]

A brief review of Manfred, op. 115, a disk I'd picked-up because I knew how much the orig. poem meant to Schumann.

I erred in describing this Manfred as 'the full nine yards' [What are you listening to now thread] :  Schumann used 975 of 1336 lines of Byron's poem, translated into German of course, and conductor Gerd Albrecht has also made some presumably judicious deletions.  The poet himself, explicitly did not want the work performed theatrically; neither would he have approved of the composer's Faust-like ending, redemption through the love of a woman, or its bowdlerizing – incestuous desires have been deleted.  Schumann nevertheless was obsessed with the poetic hero, and self-identified with the magician.  Predictably, so did Berlioz, but he declined to set the poem due to age and ill health.  Already subject to his famous auditory hallucinations while at work on Manfred, the multiple challenges of tackling the poem could not have helped his mental health.  Or did it provide consolation? : "Ein Friede kam auf mich unsäglich still..." says its hero near Manfred's conclusion. 

The work's form – Schumann called it a "dramatic poem with music" – will (as it obviously has in the past) turn many listeners away. The emphasis here is on the poetry and music plays a supportive role.  Schumann was so close to this poem that he wanted to create this ambitious, courageous interpretation/homage.  You have to admire his daring.  Multiple hearings (I listened to it five times) dissipated my initial discomfort – prob. would yours as well – and serve to reveal the composer's intentions.  This is truly a great romantic poem with connections to both Faust and Zarathustra, and, pace Byron, it does make for interesting, though not compelling, theater.  [Attn. non-German speakers : the orig. English text is not provided, but can easily be found in several on-line full-text sites].  Serious Schumann fans, for whom I believe this disk is a must (the composer intended it to be his magnum opus), should know that musically there are moments of exquisite beauty herein, with plenty of illuminating references to Schumann's outstanding overture (well-conducted here by Albrecht, though it's unlikely to replace your current favorite).  There are also other moments of seemingly perfunctory composition – the result, surely, of Schumann's bowing to the text.  The dramatic speakers here leave absolutely nothing to be desired and the singers and recording are also first rate. 

Another incentive to consider listening to this work - it's something of a challenge in our day and age to appreciate the enthusiastic response readers and artists experienced for romantic literature of that period - it literally and literarily (sic) affected their thoughts, emotions, and lives.  There are, of course, many musical works reflective of that, but none more so than Manfred.  Schumann slept with this poem at his side. 

[Florestan]

Many thanks for this very illuminating review, Greg. I will have to get that disc at some point, better sooner than latter meseems.

[71 dB]

Robert Schumann is one of those composers I have never explored much for some reason. It's weird, because I have liked pretty much everything I have heard by him. I seem to have only 12 works by him in my collection:

Kinderszenen
Piano Concerto
Piano Quintet
Piano Sonatas 1-3
Symphonies 1-4 (Mahler orch.)
Violin Sonatas 1 & 2

Schumann didn't live very long, but was very prolific. The thought of exploring his works is intimidating!  Why is there so much music in the world? 

The Piano Sonatas I have are played by Bernd Glemser on Naxos. Unfortunately the recording suffers from weird metallic resonance that comes and goes. I guess some of the screws of the piano where loose. Pity.

[amw]

If you're in the market for better-sounding recordings of the piano sonatas I can recommend Pollini or Perahia in No. 1 (paired respectively with the Fantasy in C and Kreisleriana) and Argerich or Sokolov in No. 2 (both paired with lots of different things, I think). No recs yet for an good recording of No. 3 because I haven't heard one that is interpretively satisfactory, but if you don't care about that and want to avoid repertoire duplication, probably András Schiff or Florian Henschel. (Both would be expensive-ish though.)

If not, consider finding all of the individual Schumann piano works those recordings are paired with (Fantasy, Kreisleriana, Humoreske, Novelettes, Arabeske, Fantasiestücke Op. 12—as distinct from the Fantasiestücke Op. 111, which are less interesting) plus some others (Carnaval, Davidsbündlertänze, and maybe Waldszenen). Also worthwhile are the three string quartets, piano quartet,  and of course the songs.

[Jo498]

If you care at all about piano repertoire, first things should be pieces like the ones mentioned in amw's second paragraph. They are different, Carnaval might be the most "flashy", Kreisleriana and Davidsbündlertänze are rather bipolar, the symphonic Etudes are for me a more "classical" and comparably "strict" cyclic piece. Fantasiestücke op.12 is a good mix and also quite accessible. Humoreske is somewhat sprawling and less accessible for me.

If you care at all about Lieder, get at least op.39 (Eichendorff settings) and Dichterliebe. If you like Lieder, get also op.24 (Heine settings, I call this "little Dichterliebe") and the Kerner Lieder op.35? and Andersen Lieder (op.40).

If you like the piano quintet, get the piano quartet and at least the first trio (this one is somewhat unfairly by far the most popular, but the other two are also good). The string quartets can maybe left for a little later (after decades of relative neglect, there are quite a few recordings of them around now, one of the best (Juilliard) still only from Japan)

[71 dB]

If you're in the market for better-sounding recordings of the piano sonatas I can recommend Pollini or Perahia in No. 1 (paired respectively with the Fantasy in C and Kreisleriana) and Argerich or Sokolov in No. 2 (both paired with lots of different things, I think). No recs yet for an good recording of No. 3 because I haven't heard one that is interpretively satisfactory, but if you don't care about that and want to avoid repertoire duplication, probably András Schiff or Florian Henschel. (Both would be expensive-ish though.)

Piano Sonata No. 1 is the one most suffering from that weird resonance/noise. Sonata No. 2 is from a different recordings session. Thanks for the recs!

If not, consider finding all of the individual Schumann piano works those recordings are paired with (Fantasy, Kreisleriana, Humoreske, Novelettes, Arabeske, Fantasiestücke Op. 12—as distinct from the Fantasiestücke Op. 111, which are less interesting) plus some others (Carnaval, Davidsbündlertänze, and maybe Waldszenen). Also worthwhile are the three string quartets, piano quartet,  and of course the songs.

Yes, I am interested to explore. 

[71 dB]

If you care at all about piano repertoire, first things should be pieces like the ones mentioned in amw's second paragraph. They are different, Carnaval might be the most "flashy", Kreisleriana and Davidsbündlertänze are rather bipolar, the symphonic Etudes are for me a more "classical" and comparably "strict" cyclic piece. Fantasiestücke op.12 is a good mix and also quite accessible. Humoreske is somewhat sprawling and less accessible for me.

If you care at all about Lieder, get at least op.39 (Eichendorff settings) and Dichterliebe. If you like Lieder, get also op.24 (Heine settings, I call this "little Dichterliebe") and the Kerner Lieder op.35? and Andersen Lieder (op.40).

If you like the piano quintet, get the piano quartet and at least the first trio (this one is somewhat unfairly by far the most popular, but the other two are also good). The string quartets can maybe left for a little later (after decades of relative neglect, there are quite a few recordings of them around now, one of the best (Juilliard) still only from Japan)

Lieders aren't my thing.

I browsed Schumann CDs on Amazon and almost lost my mind! Now listening to Schumann on Spotify. (Piano Trio 3/Naxos)

[Florestan]

Lieders aren't my thing.

Have you tried the symphonies? They usually get a bad press but I cannot see why. They are full of passion, feelings and emotions and contain some of the most memorable melodies you will ever hear.

[71 dB]

Have you tried the symphonies? They usually get a bad press but I cannot see why. They are full of passion, feelings and emotions and contain some of the most memorable melodies you will ever hear.

As I listed above, I have the BIS set of Symphonies. Yesterday I listened to the Sawallich set on Spotify. Today I have listened to the Cello Concerto (Kliegel)

I agree the symphonies are good.

[Florestan]

As I listed above, I have the BIS set of Symphonies. Yesterday I listened to the Sawallich set on Spotify. Today I have listened to the Cello Concerto (Kliegel)

What do you think of them?

[71 dB]

What do you think of them?

Everything good stuff.  Even lieders (sampled) not jsut my thing
'
I understand why Elgar kept Schumann in high regard. There's much Schumann in Elgar,

[EigenUser]

Everything good stuff.  Even lieders (sampled) not jsut my thing

Try his Concertpiece for four horns and orchestra. That is my favorite Schumann.

[Madiel]

Schumann is the composer who converted me to Lieder. For me, so far, he is the very best in the genre.

Whereas I have mixed feelings about the early piano works that seem to have made his name. Some of them are just too choppy and 'bipolar' for my taste. I definitely do like the Symphonic Etudes and the Fantasy in C.

Of the chamber music, I personally love the piano quartet.

[71 dB]

Try his Concertpiece for four horns and orchestra. That is my favorite Schumann.

Ok, I will.

Schumann is the composer who converted me to Lieder. For me, so far, he is the very best in the genre.

Maybe the same happens to me. You never know...

Whereas I have mixed feelings about the early piano works that seem to have made his name. Some of them are just too choppy and 'bipolar' for my taste. I definitely do like the Symphonic Etudes and the Fantasy in C.

Of the chamber music, I personally love the piano quartet.

Ok. I am completely lost at what to buy. I should be exploring contemporary composers and now this Schumannia...

[Florestan]

I should be exploring contemporary composers and now this Schumannia...

They are not mutually exclusive. 

[71 dB]

They are not mutually exclusive. 

Of course not, but it makes exploring a longer process. My next purchase could be Schumann, but it can also be Weinberg, Brotons, Zwilich or something else! Only 5 weeks ago I discovered Ives...

The Naxos Piano Trio Vol. 2 disc is very good! Now listening to the Piano Quartet (also Naxos). Spotify of Spotify!