R. Schumann - Fantasie Op 12 & Fantasiestucke Op 17 - COMPACT DISCS [CD]

Album Tracks 1. No. 1. Erste Begegnung 2. No. 3. Liebesgram 3. No. 8. Botschaft 4. No. 10. Mailied 5. No. 16. Das Gluck 6. No. 19. Fruhlingslied 7. No. 21. Die Schwalben 8. No. 1. Wenn Ich Ein Voglein War 9. No. 2. Herbstlied 10. No. 3. Schon Blumelein 11. No. 1. Mailied 12. No. 2. Fruhlingslied 13. No. 3. An Die Nachtigall 14. No. 4. An Den Abendstern 15. Der Rose Pilgerfahrt (The Pilgrimage of the Rose), Op. 112 Part II Ei Muhle, Liebe Muhle 16. 3 Gedichte, Op. 29 No. 1. Landliches Lied 17. Sommerruh 18. Spanische Liebeslieder, Op. 138 No. 4. Bedeckt Mich Mit Blumen 19. Waldscenen, Op. 82 No. 9. Abschied (Farewell to the Forest) 20. Albumblatter, Op. 124 No. 18. Botschaft 21. Waldscenen, Op. 82 No. 7. Vogel Als Prophet (The Songster-Prophet) 22. No. 13. Der Dichter Spricht (The Poet Speaks) 23. No. 7. Traumerei (Dreaming)

The Davidsbündlertänze, Opus 6, and the Fantasiestücke, Opus 12, both belong to the year 1837. Wieck had insisted that Clara should not see Schumann and that letters should be returned. The latter, despairing of success in his pursuit of Clara, turned to drink and conduct that his landlady, at least, found reprehensible. At one point he sought revenge on Clara by publishing a satire mocking both her and a young man who had been brought in by her father to give her singing lessons. He dedicated his Fantasiestücke, written between 22nd May and 4th July, to an attractive eighteen-year-old Scottish pianist, Robena Laidlaw. It was Clara who brought about a reconciliation through an intermediary so that August saw her pledged to him and in September they were able to meet again. The Davidsbündlertänze were written in the late summer and early autumn of 1837, after this reconciliation. The first dance opens with a quotation from a Mazurka by Clara Wieck and is varied in mood, attributed to both Florestan and Eusebius. The second piece is attributed to the latter and the third, marked With Humour, to Florestan, the author of the fourth, marked Impatient. The simple fifth piece is in the mood of Eusebius, while the sixth, in stormier mood, reverts to Florestan. The opening arpeggiated chords of the seventh piece reintroduce Eusebius, followed by a brusque Florestan. The last piece of the first book, marked Lively, carries an additional explanation Hierauf schloß Florestan und es zuckte ihm schmerzlich um die Lippen (Hereupon Florestan stopped and his lips quivered sadly). Florestan opens the second set of nine pieces in ballad measure, with a whimsical third piece framing a simple second for Eusebius. The fourth has room for both moods, with the gently singing filth for Eusebius. Both are together again in the sixth piece as they appear to be in the seventh, with it's contras

Album Tracks 1. Kreisleriana, Op.16 Ausserst Bewegt 2. Kreisleriana, Op.16 Sehr Innig Und Nicht Zu Rasch 3. Kreisleriana, Op.16 Sehr Aufgeregt 4. Kreisleriana, Op.16 Sehr Langsam 5. Kreisleriana, Op.16 Sehr Lebhaft 6. Kreisleriana, Op.16 Sehr Langsam 7. Kreisleriana, Op.16 Sehr Rasch 8. Kreisleriana, Op.16 Schnell Und Spielend 9. Arabeske, Op.18 10. Con Quasi Var 11. Klaviersonate, Op.22 So Rasch Wie Moglich 12. Klaviersonate, Op.22 Andantino 13. Klaviersonate, Op.22 Scherzo 14. Klaviersonate, Op.22 Rondo