It's because that melody spells B-A-C-H (in German pitch names), it's Schumann giving away the main inspiration for these pieces even before writing a chorale in the final piece.
0:09- From foreign Lands and People 2:11- Curious Story 3:09- Catch me if you can 3:38- Entreating Child 4:25- Perfect Happiness 5:48- An Important Event 6:40- Dreaming 9:33- By the Fireside 10:19- Knight of the Rocking-Horse 10:53- Almost too serious 12:40- Frightening 14:08- Child falling asleep 16:32- The Poet Speaks
The reason Katsaris brings out the inner voice in the first piece is because that melody spells B-A-C-H (in German pitch names, B-flat A C B). It's Schumann giving away the main inspiration for these pieces even before writing a chorale in the final piece; he was open about considering Bach the most important influence on his generation in his writings.
I agree, beautiful shading. I suddenly remembered, I had a lesson with my music education professor one time because she wanted to hear me how I play a piece from Waldszenen by Schumann. I was focused on making the top notes ring but she immediately stopped me and explained that when playing Schumann, there are places the inner voices and the bass should also be singing, as opposed to treating them as an accompaniment to the top note.
0:00 - Von fremden Ländern und Menschen/ Of Foreign Lands and Peoples/ Des pays mystérieux (G major) 2:10 - Kuriose Geschichte/ A Curious Story/ Histoire curieuse (D major) 3:09 - Hasche-Mann/ Blind Man's Buff/ Colin-Maillard (B minor) 3:37 - Bittendes Kind/ Pleading Child/ L'enfant qui prie (D major) 4:25 - Glückes genug/ Happiges/ Bonheur parfait (D major) 5:47 - Wichtige Begebenheit/ An Important Event/ Grande nouvelle (A major) 6:39 - Träumerei/ Dreaming / Rêverie (F major) 9:31 - Am Kamin/ At The Fireside/ Au coin du feu (F major) 10:18 - Ritter vom Steckenpferd/ Knight Of The Hobbyhorse/ Sur le cheval de bois (C major) 10:52 - Fast zu ernst/ Almost Too Serious/ Peut-être trop sérieux (G-sharp minor) 12:39 - Fürchtenmachen/ Frightening/ Faire peur (E minor) 14:16 - Kind im Einschlummern/ Child Falling Asleep/ L'enfant s'endort (E minor) 16:31 - Der Dichter spricht/ The Poet Speaks/ Le poète parle (G major)
Such a lovely set of pieces. Perfect little poems and so original. Schumann was an amazing composer! In the slower pieces the pianist interweaves the weight of the melody and bass notes in an amazing way! An outstanding interpretation of the set.
Von fremden Ländern und Menschen~0:09 Curiose Geschichte~2:12 Hasche-Mann~3:09 Bittendes Kind~3:38 Glückes genug~4:25 Wichtige Begebenheit~5:47 Träumerei~6:37 Am Camin~9:31 Ritter vom Steckenpferd~10:18 Fast zu Ernst~10:53 Fürchtenmachen~12:40 Kind im Einschlummern~14:07 Der Dichter sprightly~16:28
The musicality in number 9 is so fantastic. Reminds me of the first time I heard Richter’s Schubert; like a light bulb going off into how it could sound.
Very strange interpretation imho... adds a seriousness that doesn’t necessarily fits the “child scenes” theme... it is music, and it is well played, but prioritizes effects over imagination
Not gonna lie, Katsaris affected me in a very influential way when it came voicing and how to listen. There is so much more variety and interest that can be brought out in music than your typical "melody" that has become so...standard in the way piano playing gets taught.
Magnifique avec contrechants et respect appliqué des indications avec finesse et délicatesse. Sobriété , enthousiasme et maitrise soignée du rubato sont également au rendez-vous.
When my parents would fight or scold me about something, I would lock myself in my room and listen to this. It makes me very nostalgic and sad, but I love this music.
The composer claimed that he didn't imagine pictures during the composition; the titles were written AFTER the musical composition was finished: “Der meint wohl, ich stelle mir ein schreiendes Kind hin und suche die Töne danach. Umgekehrt ist es -: die Überschriften entstanden natürlich später und sind eigentlich nichts als feinere Fingerzeige für Vortrag und Auffassung.” (Schumann) He says that the titles were meant as a hint for the pianist and for the listeners. (see also de.m.wikipedia.org/wiki/Kinderszenen)
I just got a copy of these scores. I've never played Schumann but I'm quite excited to experiment around. It'll be nice supplementary repertoire to learn how to create smaller character portraits rather than only massive works.
is there anything more wonderful than his bejewelled tone at 1:10,1:50(that Bm7 the entire phrase one could put words to (So alive is this music making No.4 the mixing of the descending harmonies brought tears to my eyes as well as 4:40, the phrasing at 5:43 . Everywhere fantastic Things . Every millisecond is full of a singing pianist (so many characters and voices it feels like a duet and sometimes a trio . Luscious chordal playing in and the communicative middle voices ,each time different meaning , dynamic and then the bass duets with top soprano in the B section . So many details make this heartfelt MUSICMAKING .The gorgeous variety of tone is also what makes character here It's in the easy music that you can tell a thinking artist who is more than just fingers ! Catsaris spoke to us all with his Chopin Nocturne album decades ago .
I played this song on brain age 2 alot it was my favorite somg on there and i could remember the notes and when to hit them perfectly and after awhile i forgot the name of the song. I could only remember the tune. I found it again and its like a lullaby
Not to be that guy but this isn't a song. It's a piece, now a lot just say that and be on their way but I will explain why it is so. The definition of song is this :song; noun; a short poem or other set of words set to music or meant to be sung. A piece is defined as a written, musical, or artistic creation or composition. I hope this has given insight on why people dont call it songs and gripe over people who do so :)
I adore your interpretation of this work by Schumann and I admire your language skill. How many more languages do you use besides French and English. K.
A wonderful exhibit of superb piano playing, of course. The mastery of voicing is impressive, but there is too much overt virtuosity here. Some of the tempi seem unnecessarily and exaggeratedly brisk, and much of the tone strikes me as too "present," -- too forceful -- too vibrant -- to evoke the intimate, musing , SONG-LIKE quality these pieces require. Kinderscenen is supposed to be both nostalgic and endearing. I don't believe Schumann intended it to be "impressive." The German adjectives "innig" and "zart" seem to be missing this otherwise-excellent rendition.
Yes and no. If recorded as you suggest, why bother? We already have so many superb examples evoking a SONG-LIKE quality. It is refreshing to hear an alternative view well executed.
Regardless of historical context, the real question is, does it sound good or not? If you're trying to impress some judges, what you said matters; however, for people without any obsession into a "proper" "perfect" way of performing, it comes down to whether it sounds better than Schumann himself. The composer, regardless of reputation, is not always right. Eventually, they will be outdone by a good player.
+ Hyramess Hiramess This is an altogether pertinent comment that rings true for me. It is clear that Katsaris, who is rather at home with compositions that require great virtuosity (Liszt’s transcriptions of the Beethoven symphonies for example), does not understand Schumann. The tempos are clearly out of synch with the character of the pieces, the ritardandos are gratuitous, the inner voices are exaggerated and frankly out of place, the whole thing is much too cerebral. Claudio Arrau has made a fine recording of this work.
@@jehbarninoibarra8644 I agree with what you said. He has his own style of performing music, and there is no perfect way of performing. However, I find the statement "The composer, regardless of reputation, is not always right." kind of puzzling. The composer was who composed the piece, and every performer who plays it must emulate the composer's thoughts or playing into life at least to some extent. Only after they have done so should their own interpretation begin...
I'm glad everybody else liked this. For me, some crazy interpretations and tempi. Don't know where he came up with the broken chords in the second repeat of "From Foreign Lands..." but they're not written and detracted from the simplicity of the piece for me. Knight of the Rocking-Horse was way too fast and the melody was lost in the rush. Ditto (actually moreso) for the fast parts in Frightening. Far too fast to bring out the beautiful melody or even hear it. I guess to each his own, but I think far too many liberties were taken, and so many parts were rushed through.
@@classicore22 Schumann says himself “Play strictly in time! The playing of many a virtuoso resembles the walk of an intoxicated person. Do not take such as your model.”
I don’t, but I don’t like his interpretation at all. Especially no 10. It lacks everything that was put but the composer. The title never matches the atmosphere. Ugh
![How to Play Schumann | Kinderszenen Op.15 No.1 [Tutorial]](http://i.ytimg.com/vi/qJctSyD0TWI/mqdefault.jpg)
I love how he plays the bass melody in after the repeat.
which number?
Jordan Dyck the first one
Katsaris really likes to do that in general
I was thinking the same. I can't wait to try for that voicing the next time i play it.
It's because that melody spells B-A-C-H (in German pitch names), it's Schumann giving away the main inspiration for these pieces even before writing a chorale in the final piece.
My father played this frequently, while a was playing with my toys besides his piano. I will never forget that !!!! :(.....
The same, my father was playing this piece often when I was looking at him...
0:09- From foreign Lands and People
2:11- Curious Story
3:09- Catch me if you can
3:38- Entreating Child
4:25- Perfect Happiness
5:48- An Important Event
6:40- Dreaming
9:33- By the Fireside
10:19- Knight of the Rocking-Horse
10:53- Almost too serious
12:40- Frightening
14:08- Child falling asleep
16:32- The Poet Speaks
Great job here.
Advertisment interruption in the *middle* of Der Dichter Spricht. Well done, TH-cam 👏
thanks bro
Thank you
Thank you so much for this!
The reason Katsaris brings out the inner voice in the first piece is because that melody spells B-A-C-H (in German pitch names, B-flat A C B). It's Schumann giving away the main inspiration for these pieces even before writing a chorale in the final piece; he was open about considering Bach the most important influence on his generation in his writings.
@@florianwalch5639 Looks fascinating, but it doesn't explain the same choice in the second part of the piece.
One of best Kinderszenen ever . Schumann's poetry is entirely on stage, especially in Traumerei.
No pianist should be without these charming pieces in their repertoire.
It's on my to do list. I will play it someday
@@alanleoneldavid1787 me too
@@alanleoneldavid1787 yeeeeeeeeeeeeeeep me to
@@alanleoneldavid1787 good luck I am working on rn and it’s actually really fun
personally it's so hard to interpret, i wouldn't touch these pieces with a ten foot pole
An incredibly beautiful and sensitive interpretation. Playing the harmony as the dominant melody totally makes this recording hit just right
Beautiful performance! I love how the inner voices are made to sing out at places.
This is a cool interpretation bringing out the lower voices especially on repeats. Very nice.
I find it so original too!!!
I agree, beautiful shading. I suddenly remembered, I had a lesson with my music education professor one time because she wanted to hear me how I play a piece from Waldszenen by Schumann. I was focused on making the top notes ring but she immediately stopped me and explained that when playing Schumann, there are places the inner voices and the bass should also be singing, as opposed to treating them as an accompaniment to the top note.
No, just bored pianists do this...
@justadude641 Go to sleep, kid. This conversation is over your head.
0:00 - Von fremden Ländern und Menschen/ Of Foreign Lands and Peoples/ Des pays mystérieux (G major)
2:10 - Kuriose Geschichte/ A Curious Story/ Histoire curieuse (D major)
3:09 - Hasche-Mann/ Blind Man's Buff/ Colin-Maillard (B minor)
3:37 - Bittendes Kind/ Pleading Child/ L'enfant qui prie (D major)
4:25 - Glückes genug/ Happiges/ Bonheur parfait (D major)
5:47 - Wichtige Begebenheit/ An Important Event/ Grande nouvelle (A major)
6:39 - Träumerei/ Dreaming / Rêverie (F major)
9:31 - Am Kamin/ At The Fireside/ Au coin du feu (F major)
10:18 - Ritter vom Steckenpferd/ Knight Of The Hobbyhorse/ Sur le cheval de bois (C major)
10:52 - Fast zu ernst/ Almost Too Serious/ Peut-être trop sérieux (G-sharp minor)
12:39 - Fürchtenmachen/ Frightening/ Faire peur (E minor)
14:16 - Kind im Einschlummern/ Child Falling Asleep/ L'enfant s'endort (E minor)
16:31 - Der Dichter spricht/ The Poet Speaks/ Le poète parle (G major)
Thank you!
Thanks
@Jocelyn De Young Glad to have helped!
:)
thanks!
Such a lovely set of pieces. Perfect little poems and so original. Schumann was an amazing composer!
In the slower pieces the pianist interweaves the weight of the melody and bass notes in an amazing way! An outstanding interpretation of the set.
Short, pretty easy yet gorgeous. C. Katsaris’ playing is wonderful.
I'm just imagining playing these for my children one day...
My father did it frequently, while a was playing with my toys besides his piano. I will never forget that !!!! :(.....
@@pabloquadri8218 I was playing Rachmaninoff medtner sorabji berg alkan szymanowski etc as a child
También puedes tocar “las aventuras de Ivan” de Khachaturian.
Von fremden Ländern und Menschen~0:09
Curiose Geschichte~2:12
Hasche-Mann~3:09
Bittendes Kind~3:38
Glückes genug~4:25
Wichtige Begebenheit~5:47
Träumerei~6:37
Am Camin~9:31
Ritter vom Steckenpferd~10:18
Fast zu Ernst~10:53
Fürchtenmachen~12:40
Kind im Einschlummern~14:07
Der Dichter sprightly~16:28
Thank!
The musicality in number 9 is so fantastic. Reminds me of the first time I heard Richter’s Schubert; like a light bulb going off into how it could sound.
The way Katsaris voices the harmony at 0:26 made me do a double take
Also at 6:26.
Very strange interpretation imho... adds a seriousness that doesn’t necessarily fits the “child scenes” theme... it is music, and it is well played, but prioritizes effects over imagination
Not gonna lie, Katsaris affected me in a very influential way when it came voicing and how to listen. There is so much more variety and interest that can be brought out in music than your typical "melody" that has become so...standard in the way piano playing gets taught.
Nice
Sorry but I think it's horrible. It's quite bizarre to create a melody line on inner voices. He is the performer not the composer.
Magnifique avec contrechants et respect appliqué des indications avec finesse et délicatesse. Sobriété , enthousiasme et maitrise soignée du rubato sont également au rendez-vous.
When my parents would fight or scold me about something, I would lock myself in my room and listen to this. It makes me very nostalgic and sad, but I love this music.
I listened to the first one every night when I was little.
You have such perfect voicing, your interpretations of romantic works are some of my favourites!
Schumann is such a great composer
And Katsaris is such a great pianist.
I wish i could see the pictures that he imagined while composing this songs
Heinz Blöd good
The composer claimed that he didn't imagine pictures during the composition; the titles were written AFTER the musical composition was finished:
“Der meint wohl, ich stelle mir ein schreiendes Kind hin und suche die Töne danach. Umgekehrt ist es -: die Überschriften entstanden natürlich später und sind eigentlich nichts als feinere Fingerzeige für Vortrag und Auffassung.” (Schumann)
He says that the titles were meant as a hint for the pianist and for the listeners.
(see also de.m.wikipedia.org/wiki/Kinderszenen)
@@dominiquejeannes6776 it means, it is Clara who have the image of it then
i do to it makes me a bit emotional because my grand father is about to pass away...
Sight reading is so good without a mistaking tone
Thanks !
My parents used to set this as my lullaby. I would continue to listen to it until I turned 8. Even though I didn’t need a lullaby anymore
I just got a copy of these scores. I've never played Schumann but I'm quite excited to experiment around. It'll be nice supplementary repertoire to learn how to create smaller character portraits rather than only massive works.
well done indeed! voicing was great! I am learning this opus over the summer and this was a great tool to listen to and enjoy!
i love the first piece that is very great
Omg, Maestro you are a magician
is there anything more wonderful than his bejewelled tone at 1:10,1:50(that Bm7 the entire phrase one could put words to (So alive is this music making No.4 the mixing of the descending harmonies brought tears to my eyes as well as 4:40, the phrasing at 5:43 . Everywhere fantastic Things . Every millisecond is full of a singing pianist (so many characters and voices it feels like a duet and sometimes a trio . Luscious chordal playing in and the communicative middle voices ,each time different meaning , dynamic and then the bass duets with top soprano in the B section . So many details make this heartfelt MUSICMAKING .The gorgeous variety of tone is also what makes character here It's in the easy music that you can tell a thinking artist who is more than just fingers ! Catsaris spoke to us all with his Chopin Nocturne album decades ago .
13:04 I love this part
I played this song on brain age 2 alot it was my favorite somg on there and i could remember the notes and when to hit them perfectly and after awhile i forgot the name of the song. I could only remember the tune. I found it again and its like a lullaby
Not to be that guy but this isn't a song. It's a piece, now a lot just say that and be on their way but I will explain why it is so. The definition of song is this :song; noun; a short poem or other set of words set to music or meant to be sung.
A piece is defined as a written, musical, or artistic creation or composition. I hope this has given insight on why people dont call it songs and gripe over people who do so :)
@@irodragon7184 OK professor
@@e.hutchence-composer8203 it was more like "ok google"
AMAZING
He was a member of NHK piano lesson selease.
Thank you for upning this music.
彼はNHKピアノ講座の講師の方のお一人でした。
up、ありがとうございました。
Ngl..My piano teacher told me that I must’ve listened to this song when I was young..but I never heard of it 🫠
this gives me 1830's vibes
Thanks for uploading!
This left hand a accents are Just Perfect!
delicate and beautiful
I adore your interpretation of this work by Schumann and I admire your language skill. How many more languages do you use besides French and English. K.
Great playing! I just uploaded this piece too :)!
Yes, because a child can play on a rocking horse that fast
Haha I found you
@@jamesdavids8536 haha you certainly did
I agree with your opinion.
僕も貴兄のご意見に同感です。
Hard to listen without imagining a truck driving away from a farm with a dog chasing after it.
I know about this song because of the brain age piano player game on the dsi.
The best
3:10 how is possible to play stacatto with this fast tempo
Curl yoir fingers, dont raise your entire wrist
David García Martínez actually in fast Tempo I can only play staccato 🤣
This is very Good for me to complete my school stuff!
I LOOOVE his voicings, but the fluctuating rhythm/tempo bothers me at times…
My sheet music has no pedal markings and I am playing it it with an easy syncopated pedal (1st piece) but it doesn't sound very beautiful.
This reminds me of scenes from little woman
난 오늘부터 슈만 팬
Estou aqui pra ler o cap 41 de insipt. Quem já leu sabe... dor
Very good playing
19c 낭만주의 - 피아노 음악
슈만 - [어린이 정경] 피아노 소품집
So much effusive rubato.
temaso
No 8. 💀Amkaming
:)))
don’t like the sound quali on this . such a great piece !!
I think No. 8 is played too fast. A relaxed atmosphere by the fireside would suggest a slower pace?
1,3,6
3:09
Well done! I just uploaded this too :)!
6:40 트로이메아리
A wonderful exhibit of superb piano playing, of course. The mastery of voicing is impressive, but there is too much overt virtuosity here. Some of the tempi seem unnecessarily and exaggeratedly brisk, and much of the tone strikes me as too "present," -- too forceful -- too vibrant -- to evoke the intimate, musing , SONG-LIKE quality these pieces require. Kinderscenen is supposed to be both nostalgic and endearing. I don't believe Schumann intended it to be "impressive." The German adjectives "innig" and "zart" seem to be missing this otherwise-excellent rendition.
No one voices like Cyprien, its one of his signatures.
Yes and no. If recorded as you suggest, why bother? We already have so many superb examples evoking a SONG-LIKE quality. It is refreshing to hear an alternative view well executed.
Regardless of historical context, the real question is, does it sound good or not? If you're trying to impress some judges, what you said matters; however, for people without any obsession into a "proper" "perfect" way of performing, it comes down to whether it sounds better than Schumann himself. The composer, regardless of reputation, is not always right. Eventually, they will be outdone by a good player.
+ Hyramess Hiramess
This is an altogether pertinent comment that rings true for me.
It is clear that Katsaris, who is rather at home with compositions that require great virtuosity (Liszt’s transcriptions of the Beethoven symphonies for example), does not understand Schumann. The tempos are clearly out of synch with the character of the pieces, the ritardandos are gratuitous, the inner voices are exaggerated and frankly out of place, the whole thing is much too cerebral. Claudio Arrau has made a fine recording of this work.
@@jehbarninoibarra8644 I agree with what you said. He has his own style of performing music, and there is no perfect way of performing. However, I find the statement "The composer, regardless of reputation, is not always right." kind of puzzling. The composer was who composed the piece, and every performer who plays it must emulate the composer's thoughts or playing into life at least to some extent. Only after they have done so should their own interpretation begin...
Keep calm and compose ~ C**** W***
10:19
why it sounds so... terrible?
nothing with the pianist, he/she is awesome. But why so, so fast? T____T
Yeah thats true, its so fast. I dont like that.
Well its supposed to be that fast
No, it’s autocreccting
.
which grade is this? Grade 6?
Hahaha! Sorry but this is great Art. It's the highest possible grade.
I'm glad everybody else liked this. For me, some crazy interpretations and tempi. Don't know where he came up with the broken chords in the second repeat of "From Foreign Lands..." but they're not written and detracted from the simplicity of the piece for me. Knight of the Rocking-Horse was way too fast and the melody was lost in the rush. Ditto (actually moreso) for the fast parts in Frightening. Far too fast to bring out the beautiful melody or even hear it. I guess to each his own, but I think far too many liberties were taken, and so many parts were rushed through.
Speaking generally, I think classical pianists rely too much on rubato for expression
@@PastPerspectives11 In the Romantic Era, pianists used far more rubato: today's pianists are a bit more clinical.
Performers in Schumann's era took more liberties with the score than modern pianists do, so a few changes are appropriate.
@@classicore22 Schumann says himself “Play strictly in time! The playing of many a virtuoso resembles the walk of an intoxicated person. Do not take such as your model.”
I don’t, but I don’t like his interpretation at all. Especially no 10. It lacks everything that was put but the composer. The title never matches the atmosphere. Ugh
Как же ты не прав, Денис
McDull
Difficult technique and phrasing.
I like Katsaris, but this voicing makes light texture heavy. like fat-child xD
Jebal bullshit
Neklausaties lūdzu šo sviestu