"The salient features of Robert Schumann's piano music are its great rhythmical variety and complexity, the extraordinary wealth and "fineness" - subtlety - (in German: Feinheit) of inner voices, all forming a well-balanced whole that fits the idea he wishes at the moment to convey. The inner polyphony is so important and significant, that even when it only has a subordinate part to play it is an indispensable one. It follows, then, that unless Schumann's manifold subtleties are fully expressed, the more obvious, in fact the leading beauty, of his writing is not fully realized in presentation." Fanny Davies (1861-1934, pupil of Clara Schumann)
The direct emotional connection between Davies and Schumann (and contemporaries like Severin Eisenberger and Carl Friedberg) makes many modern players sound labored. Bet it pained Fanny to have left out the Frisch section (15) but what we have is wonderful. As always, thanks, Mark.
So often when listening to Schumann, the feeling comes to me that the style and compositions of others are somehow "straightforward". I never have that feeling when listening to those other composers of course, but when listening to Schumann, it invariably strikes me. It remains elusive to me how Schumann can stand apart so obviously.
Absolutamente maravilloso e INIGUALABLE. Esto es lo que los Schumanns querían, y si hay alguien que quiere otra cosa, puede oir lo que quiera e incluso componer por sí mismo sus propios Davidsbündlertänze y de paso tocarlos por si mismo si le apetece. Lo mejor, sin embargo, es escuchar la voz de quien ha compuesto la obra, o de su mujer, en este caso, a través de una alumna. Y si no le gustan, componer algo y grabarlo.
Indeed - in the text under the video (you need to click to 'read more'), I state "She recorded 1, 2, 4-6, 8-14, 17, and 18 (or put another way, she left out pieces 3, 7, 15, and 16)." I wish she'd been able to record them all!
@@ThomasFleck50 no, it will be even more relevant! As I had visions of piano lessons with Robert Schumann. My interpretation is totally different from what I would have done. I will send my cd (Carnaval) first to Mark Ainley (my biggest fan because of Kreisleriana) and hope he can promote it. Now I am having a brainscan because I was in a terrible accident. Good day, and if god exists, bless you.
"The salient features of Robert Schumann's piano music are its great rhythmical variety and complexity, the extraordinary wealth and "fineness" - subtlety - (in German: Feinheit) of inner voices, all forming a well-balanced whole that fits the idea he wishes at the moment to convey.
The inner polyphony is so important and significant, that even when it only has a subordinate part to play it is an indispensable one. It follows, then, that unless Schumann's manifold subtleties are fully expressed, the more obvious, in fact the leading beauty, of his writing is not fully realized in presentation."
Fanny Davies (1861-1934, pupil of Clara Schumann)
The direct emotional connection between Davies and Schumann (and contemporaries like Severin Eisenberger and Carl Friedberg) makes many modern players sound labored. Bet it pained Fanny to have left out the Frisch section (15) but what we have is wonderful. As always, thanks, Mark.
Beauuuuutiful. Her performance teaches us so much about how Schuman wanted it to be played. Goodness, how fortunate we are . Thank you Piano Files.
Please spell Schumann correctly.
@@robertpincus1898 Yes, yes! You are right. My face is totally red. Thank you for pointing it out. Now - correctly: Schumann!
Intimate and played very musically. Thanks for posting!
So often when listening to Schumann, the feeling comes to me that the style and compositions of others are somehow "straightforward". I never have that feeling when listening to those other composers of course, but when listening to Schumann, it invariably strikes me. It remains elusive to me how Schumann can stand apart so obviously.
Always enjoyed her recordings.
Wow! Elegantly, passionately, breathing!
Absolutamente maravilloso e INIGUALABLE. Esto es lo que los Schumanns querían, y si hay alguien que quiere otra cosa, puede oir lo que quiera e incluso componer por sí mismo sus propios Davidsbündlertänze y de paso tocarlos por si mismo si le apetece. Lo mejor, sin embargo, es escuchar la voz de quien ha compuesto la obra, o de su mujer, en este caso, a través de una alumna. Y si no le gustan, componer algo y grabarlo.
Very fine to hear this . . . the third dance is omitted.
Indeed - in the text under the video (you need to click to 'read more'), I state "She recorded 1, 2, 4-6, 8-14, 17, and 18 (or put another way, she left out pieces 3, 7, 15, and 16)." I wish she'd been able to record them all!
One of the finest performances ever!
I can play it better, but first Carnaval.
@@michieldpiano maybe but it will be less relevant!
@@ThomasFleck50 no, it will be even more relevant! As I had visions of piano lessons with Robert Schumann. My interpretation is totally different from what I would have done. I will send my cd (Carnaval) first to Mark Ainley (my biggest fan because of Kreisleriana) and hope he can promote it. Now I am having a brainscan because I was in a terrible accident. Good day, and if god exists, bless you.
@@michieldpiano you had visions but she had real lessons with his wife. Nobody could give an closer insight to Schumanns intentions
@@ThomasFleck50 To Clara her intentions. But yes I am jealous of it. Born in the wrong era. Just had the scan? Hope I will be able to play the piano.
Thank you very much for posting. What a beautiful music! Is this an acoustic recording?
No, it's an electrical recording - that process started primarily in 1925, although some acoustical recordings were still made that year and in 1926
@@ThePianoFiles Oh i see. Thank you for your information, and your postings for always!
too bad about #15, my fav.
May I know whether this is a 78rpm record?
As it was recorded in 1930, yes.
I see nice music! Thanks for the upload!
How can this be 1930? Are you sure? Sounds like yesterday.
Definitely 1930... time flies when you're having fun. The sound quality is indeed terrific!
@@ThePianoFiles Sounds better than Rachmaninoff recorded a decade later!
@@jgrab1 Rachmaninoff recorded Carnaval in 1929 - one year before this - and didn't record Op.6 ... is it the Carnaval to which you are referring?
@@ThePianoFiles No, not a reference to any one recording, just a general statement.
It was wrapped in aluminum foil
11:33
...Hrr SOUND 's from her temperament ---indifferent...
Personally I am not such a fan here. She doesn't reach me.