Horowitz burned this piece into his audience’s aural memory. It’s like David Dubal wrote of his individuality as being devastating and blinding; he seduced one away from the simple and the beautiful. 😄♥️😄 Others thought he put too much trauma into the Träumerei. I say I love him, period, but in this upload, I am drawn most to Kempff’s take on the piece. As is always the case with his playing, there is an abundance of gleaming sunshine and a hint of the fragrances of spring. He doesn’t make it sound sad, dark, or even profound. Horszowski said that one should not play the Kinderszenen as someone looking back ON childhood from the vantage point of old age, but as one experiencing _in the moment_ the events portrayed by Schumann. I think he would have nodded in agreement as he listened to what Kempff does here.
Schumann himself notes in a letter to Clara Wieck that it was “as if I was hiding in children’s clothing” when composing the cycle. It’s not about an adult’s daydreaming of love, but about daydreaming about a child’s self-forgetful play when he or she is able to turn off the disturbing noises of the outside world. This piece should be more light-hearted, playful and joyful, at a slightly fresher pace (quarter-bpm = 100) - the exact opposite of an overflowing romance full of pathos.
Es ist doch erstaunlich, dass die alten Meister des Klavier Schumanns Träumerei völlig unsentimental und nie zu langsam (!) spielen (wenn man von der doch etwas zu hohen Metronomzahl vom Komponisten absieht) , viel schlichter, inniger, schwebender und farbiger als die Pianisten der Gegenwart. Bravo!
I do the same thing with Rachmaninov's Concerto #2 in C minor. I must have it by at least twelve (12) different pianistas, starting with Rachmaninov himself, who recorded all four (4) piano concertos from 1929 to 1940. I have 'my' favorite interpretation (which I won't mention) but, I love to listen and compare all of them. It's a shame that Horowitz never recorded the #2 concerto, maybe he thought enough musicians had already recorded it. Horowits loved Rachmaninov and, in his own words "He was my best friend!"
The Russians use the melody in loop in their most sacred war memorials. I heard, that right after the end of the war was announced, someone in radio Moscow let the Träumerei being played and thus this experience it is always connected to relief, grievance and emptiness left behind massive carnage. Watch faces of people when Mr. Horowitz plays it in Moscow in the eighties.
@@plekkchand i believe sentimental in this context refers to a greater use of tempo rubato. Kempff seems to employ it the least but still a beautiful performance.
I note that Schnabel starts the ornaments on the beat rather than before. Few pianists do this with Schumann, so far as I know. The practice is interesting (and is recommended for Chopin). Of course, it's normal in Baroque music. Here it may seem archaic, but it also seems to work.
Horowitz, Schnabel, Kempff, Moiseiwitsch. Only Schnabel approaches Horowitz's lightness of touch. Although I like Horowitz's 1986 Moscow version even better than this one.
Dear xper2xper: thanks once more for a very interesting upload. This isn't the first time I congratulate you! Hope it won't be the last... IMHO the great highlight of these 4 is the one nobody mentions explicitly, namely: the great Benno Moiseiwitsch! His rendering is so much ABOVE the other 3!... To me it's a different world, a different atmosphere!... In short: it's a really Schumannian atmosphere... No feeling of a sort of "repetition" each time the "basic cell" (so to speak) comes over again. And the tempo is a Schumannian tempo too! He was an exceedingly fine and perceptive musician. Share on Google+
I'm inclined to agree. He plays with freedom and innigkeit that seems appropriate to this piece. I suspect Schumann would approve! Never mind the tempo indication...a given piece may be played many different ways, as we know from the wildly various interpretations of J.S. Bach's music. I'm inclined to think that tempo indications are often suggestions, not gospel.
The 1930 one sounds great to me. 1973 sounds empty of those silences and piano-forte sequences that should come along with this nostalgic music. The 1946 one was just alright. The one from 1962 was very good. I don't know if I liked it best, maybe just as good or better than the first one.
Someone said the mark of a great piece is that many different artists can bring out different aspects of it. By that standard, Traumerei is a great piece. I admit to a personal preference for Moisevitsch -- he is full of sensitivity. But Horowitz brings a unique insight into this piece that never will be duplicated, as he did to so many pieces. The Schnabel version, well, sounds like Schnabel, with his particular drive, forward motion, geist; but with an understanding of the piece and love for it, too, and a unique take on it. The Kempff, I don't like that much - he seems to go forté in the wrong places and it's unpleasant. But maybe that's just me; I certainly cannot play it as well as as he did. BTW, listen to the Argerich version, too - OMG!
Among the four, he is the one who gets closer Schumann's indication of tempo. It's not easy to find a pianist who "dares" to follow Schumann's original indication of tempo. Fanny Davies gets closer too.
Bad tempi, all around 60 and less, while Schumann prescribed it @100. The piece, by the way, is completely misunderstood by the whole world, as it’s like a German folk song or an urban song adopted by Schumann (possibly inspiring him) that alludes to a child’s day-dreamy feelings rather than to hormone problems of a romantic hero-loving dreamer. I may now be called someone who drives his car by mistake in the opposite direction to the right direction on the highway, but it is enough to study the first sheet music editions compared to today’s editions, and everyone can be enlightened at once. Unfortunately, Schumann’s own handwritten musical score is said to be missing, only the first prints are in the archives and their reprints.
I tend to disagree with you, and although I don't speak Hungarian and do not get what Kocsis talks about, with him too after the tempo he demonstrates. First edition of the score mentions a quaver (eighth) to 100. It's true that some editions mention it to be a crotchet (quarter) but I take this as wrong printing, rather than an editors mistake. As an example, I can refer to two separate editions of Godowsky on imslp, one mentioning a quaver to 100, the other quaver to 54. First edition: imslp.org/wiki/Special:ImagefromIndex/03060/ebo Godowsky: imslp.org/wiki/Special:ImagefromIndex/11136/ebo Godowsky: imslp.org/wiki/Special:ImagefromIndex/456494/ebo Unfortunately, Clara Schumann edition does not have metronome indications. Another reference to tempo could be the performances of Clara Schumann students like Carl Friedberg, Adelina de Lara, Fanny Davies. Friedberg: th-cam.com/video/nDIvdmdBIq8/w-d-xo.html Fanny Davies: th-cam.com/video/VSLg_Ft43ls/w-d-xo.html A. de Lara: th-cam.com/video/eWutTfXvuW8/w-d-xo.html I understand and personally in favour of liberty on tempi but within some acceptable limits which do not bar the way to convey the right spirit of the composition. In Kocsis's interpretation, doubling what musically seems to be and what the above references tell to be the correct tempo does not seem to resonate with Traumerei. But surely, this is my opinion, and I still defend the freedom of artistry, especially of Kocsis which I greatly admire! May him rest in peace!
@@xper2xper I don’t agree, Schumann himself notes in a letter to Clara Wieck that it was “as if I was hiding in children’s clothing” when composing the cycle. It’s not about an adult’s daydreaming of love, but about daydreaming about a child’s self-forgetful play when he or she is able to turn off the disturbing noises of the outside world. This piece should be more light-hearted, playful and joyful, at a slightly fresher pace - the exact opposite of an overflowing romance full of pathos.
This is S.Korea. Same song, different feeling. 1. Benno Moiseiwitsh - The feeling in the dream at dawn 2.Wilhelm Kempff - I feel like I'm taking a nap for lunch 3.Artur Schnabel - The feeling of relieving the tired body in the early evening 4. Vladmir Horowitz - any force in the sun when the wind blows and the autumn rain falls feeling The sound of piano is quiet very quiet. I like 2..
i can understand deeply when I hear everyone play this piece ! thanks so much
Beautiful interpretations by all four!
It’s great to hear great pianists playing the same piece. I am a fan of Kempff but I really love Schnabel and Horowitz performance’s with this piece
I love Kempf playing Bach with pedals.
Schnabel the best out of four to me
Horowitz for me always a child@@tappetovolanteviaggi8808
Horowitz got my vote!
Horowitz burned this piece into his audience’s aural memory. It’s like David Dubal wrote of his individuality as being devastating and blinding; he seduced one away from the simple and the beautiful. 😄♥️😄 Others thought he put too much trauma into the Träumerei. I say I love him, period, but in this upload, I am drawn most to Kempff’s take on the piece. As is always the case with his playing, there is an abundance of gleaming sunshine and a hint of the fragrances of spring. He doesn’t make it sound sad, dark, or even profound. Horszowski said that one should not play the Kinderszenen as someone looking back ON childhood from the vantage point of old age, but as one experiencing _in the moment_ the events portrayed by Schumann. I think he would have nodded in agreement as he listened to what Kempff does here.
Schumann himself notes in a letter to Clara Wieck that it was “as if I was hiding in children’s clothing” when composing the cycle. It’s not about an adult’s daydreaming of love, but about daydreaming about a child’s self-forgetful play when he or she is able to turn off the disturbing noises of the outside world. This piece should be more light-hearted, playful and joyful, at a slightly fresher pace (quarter-bpm = 100) - the exact opposite of an overflowing romance full of pathos.
@@palmaiattila3288 Agreed! 😃
Learned this today, great to see the differences in pianists!
Es ist doch erstaunlich, dass die alten Meister des Klavier Schumanns Träumerei völlig unsentimental und nie zu langsam (!) spielen (wenn man von der doch etwas zu hohen Metronomzahl vom Komponisten absieht) , viel schlichter, inniger, schwebender und farbiger als die Pianisten der Gegenwart. Bravo!
Ja, finde ich auch. Ich habe Kempff’s Spiel sehr gern, aber alle vier sind erstaunlich.
I do the same thing with Rachmaninov's Concerto #2 in C minor. I must have it by at least twelve (12) different pianistas, starting with Rachmaninov himself, who recorded all four (4) piano concertos from 1929 to 1940. I have 'my' favorite interpretation (which I won't mention) but, I love to listen and compare all of them. It's a shame that Horowitz never recorded the #2 concerto, maybe he thought enough musicians had already recorded it. Horowits loved Rachmaninov and, in his own words "He was my best friend!"
Horowitz made it... Wondeful
Horowitz, any doubts?? 💗❤️💗❤️💗❤️💗❤️💗❤️
Diese Musik hat eine gewaltige Schönheit. Bitte nehmt die störende Werbung raus, sie zerstört die Stimmung.
how do you suppose youtube should be funded then. unless you are willing to pay for the service, then you have to live with the adverticement
The Russians use the melody in loop in their most sacred war memorials.
I heard, that right after the end of the war was announced, someone in radio Moscow let the Träumerei being played and thus this experience it is always connected to relief, grievance and emptiness left behind massive carnage.
Watch faces of people when Mr. Horowitz plays it in Moscow in the eighties.
I can only underline the last sentence!
th-cam.com/video/qq7ncjhSqtk/w-d-xo.html
Let's hope that we can hear this piece again soon on Radio Moscow...
Schnabel is the best
Kempff, the cleanest, the least sentimental, the most dream like.
I completely agree.
Kempf's musical phrasing is the breath of life.
Hm. What precisely makes the others "sentimental"? I'm skeptical of judgements like this.
@@plekkchand i believe sentimental in this context refers to a greater use of tempo rubato. Kempff seems to employ it the least but still a beautiful performance.
Beautiful
étonnant astonisning wunderbar
und erstaunlich
I note that Schnabel starts the ornaments on the beat rather than before. Few pianists do this with Schumann, so far as I know. The practice is interesting (and is recommended for Chopin). Of course, it's normal in Baroque music. Here it may seem archaic, but it also seems to work.
Belíssimo, admirável
Horowitz plays it beautifully, then Schnabel and Kempff and Moiseiwitsch in that order for me.
@alienalienss
Yes, he did, I just extracted Traumerei from the recording.
Cheers!
Horowitz, Schnabel, Kempff, Moiseiwitsch. Only Schnabel approaches Horowitz's lightness of touch. Although I like Horowitz's 1986 Moscow version even better than this one.
It seems Horowitz sent it to Schumann from the future, inspiring him to write this piece.
Because we need it badly.
Dear xper2xper: thanks once more for a very interesting upload. This isn't the first time I congratulate you! Hope it won't be the last... IMHO the great highlight of these 4 is the one nobody mentions explicitly, namely: the great Benno Moiseiwitsch! His rendering is so much ABOVE the other 3!... To me it's a different world, a different atmosphere!... In short: it's a really Schumannian atmosphere... No feeling of a sort of "repetition" each time the "basic cell" (so to speak) comes over again. And the tempo is a Schumannian tempo too! He was an exceedingly fine and perceptive musician. Share on Google+
I'm inclined to agree. He plays with freedom and innigkeit that seems appropriate to this piece. I suspect Schumann would approve! Never mind the tempo indication...a given piece may be played many different ways, as we know from the wildly various interpretations of J.S. Bach's music. I'm inclined to think that tempo indications are often suggestions, not gospel.
Wunderbar
I still think:
The crown goes to Vladimir Horowitz.
(or is that an ashtray...? ;-)
Divin!
The 1930 one sounds great to me.
1973 sounds empty of those silences and piano-forte sequences that should come along with this nostalgic music.
The 1946 one was just alright.
The one from 1962 was very good. I don't know if I liked it best, maybe just as good or better than the first one.
Kempf, Schnabel, Horowitz,
Kempff!!!!!!!!!!!!!!!!!!!!!!!!!!
By the order that shows the true dreaming on whom is the final ..; Life in all its fullness by a wealthy family.
No doubt. Horowitz.
I like Horowitz
Horowitz
霍洛維滋最後似乎彈出了黃昏的味道 !？
For me...Horowitz, hands down.
Someone said the mark of a great piece is that many different artists can bring out different aspects of it. By that standard, Traumerei is a great piece.
I admit to a personal preference for Moisevitsch -- he is full of sensitivity. But Horowitz brings a unique insight into this piece that never will be duplicated, as he did to so many pieces. The Schnabel version, well, sounds like Schnabel, with his particular drive, forward motion, geist; but with an understanding of the piece and love for it, too, and a unique take on it. The Kempff, I don't like that much - he seems to go forté in the wrong places and it's unpleasant. But maybe that's just me; I certainly cannot play it as well as as he did. BTW, listen to the Argerich version, too - OMG!
Horowitz seems to playing a luxery piano which gives him a unfair advantage ;-)
Kempff
No doubt, Kempff's is the one more faithful to Schumann's indication of tempo (quarter note=100). It's the best of the four.
To be sure, Kempff's tempo is no where near quarter 100, but closer to around 69-72.
Among the four, he is the one who gets closer Schumann's indication of tempo. It's not easy to find a pianist who "dares" to follow Schumann's original indication of tempo. Fanny Davies gets closer too.
Time is relative so is tempo. I heard Robert playing it with a "rubato" that makes the ears grow.
Thanks for letting us know which the best one is.
He was terrible.
Terribly in a hurry!
The worst by far in my opinion.
Bad tempi, all around 60 and less, while Schumann prescribed it @100. The piece, by the way, is completely misunderstood by the whole world, as it’s like a German folk song or an urban song adopted by Schumann (possibly inspiring him) that alludes to a child’s day-dreamy feelings rather than to hormone problems of a romantic hero-loving dreamer. I may now be called someone who drives his car by mistake in the opposite direction to the right direction on the highway, but it is enough to study the first sheet music editions compared to today’s editions, and everyone can be enlightened at once. Unfortunately, Schumann’s own handwritten musical score is said to be missing, only the first prints are in the archives and their reprints.
th-cam.com/video/cq5vtukMans/w-d-xo.html
I tend to disagree with you, and although I don't speak Hungarian and do not get what Kocsis talks about, with him too after the tempo he demonstrates.
First edition of the score mentions a quaver (eighth) to 100. It's true that some editions mention it to be a crotchet (quarter) but I take this as wrong printing, rather than an editors mistake. As an example, I can refer to two separate editions of Godowsky on imslp, one mentioning a quaver to 100, the other quaver to 54.
First edition:
imslp.org/wiki/Special:ImagefromIndex/03060/ebo
Godowsky:
imslp.org/wiki/Special:ImagefromIndex/11136/ebo
Godowsky:
imslp.org/wiki/Special:ImagefromIndex/456494/ebo
Unfortunately, Clara Schumann edition does not have metronome indications.
Another reference to tempo could be the performances of Clara Schumann students like Carl Friedberg, Adelina de Lara, Fanny Davies.
Friedberg:
th-cam.com/video/nDIvdmdBIq8/w-d-xo.html
Fanny Davies:
th-cam.com/video/VSLg_Ft43ls/w-d-xo.html
A. de Lara:
th-cam.com/video/eWutTfXvuW8/w-d-xo.html
I understand and personally in favour of liberty on tempi but within some acceptable limits which do not bar the way to convey the right spirit of the composition. In Kocsis's interpretation, doubling what musically seems to be and what the above references tell to be the correct tempo does not seem to resonate with Traumerei. But surely, this is my opinion, and I still defend the freedom of artistry, especially of Kocsis which I greatly admire! May him rest in peace!
@@xper2xper I don’t agree, Schumann himself notes in a letter to Clara Wieck that it was “as if I was hiding in children’s clothing” when composing the cycle. It’s not about an adult’s daydreaming of love, but about daydreaming about a child’s self-forgetful play when he or she is able to turn off the disturbing noises of the outside world. This piece should be more light-hearted, playful and joyful, at a slightly fresher pace - the exact opposite of an overflowing romance full of pathos.
@@palmaiattila3288
Let's agree to disagree 😁
Cheers!
@@palmaiattila3288
BTW, what is it you disagree with?
Editions of score, Clara Schumann's students, or my opinion on Kocsis tempo?
This is S.Korea.
Same song, different feeling.
1. Benno Moiseiwitsh
- The feeling in the dream at dawn
2.Wilhelm Kempff
- I feel like I'm taking a nap for lunch
3.Artur Schnabel
- The feeling of relieving the tired body in the
early evening
4. Vladmir Horowitz
- any force in the sun when the wind blows and
the autumn rain falls feeling
The sound of piano is quiet very quiet.
I like 2..
3
4:40 "The sound of piano is quiet, very quiet"
... is I think the intent of the composition.
Horowitz did the best..
My top 3:
Natan Brand
Volodos
Myself
Horowitz.
Horowitz, fuggedaboutit
Kempf, Schnabel, Horowitz... Period! LOL ;) Lang Lang eat your heart out :)))
The background is too noisy.
horowitz.
Listening to the 1962 version vs the live Moscow in the 80's, the 62 version wins for me. The other guys are good, but Horowitz...
R
1946
Eu 😊 we
I like my own version best because it's more real.
Nobody! Listen to Art(h)ur Rubinstein for me that's the way Täumerei should be played ...
th-cam.com/video/Ta11iuAWEBY/w-d-xo.html ?
Too fast.