Robert Schumann 1810–1856

G010001914476D P & © 2010 Sony Music Entertainment (Switzerland) GmbH www.sonymusicclassical.ch ROBERT SCHUMANN 1810–1856 COMPLETE WORKS FOR PIANO AND ORCHESTRA GESAMTWERK FÜR KLAVIER UND ORCHESTER ŒUVRE COMPLÈTE POUR PIANO ET ORCHESTRE ПОЛНОЕ СОБРАНИЕ СОЧИНЕНИЙ ДЛЯ ФОРТЕПИАНО С ОРКЕСТРОМ 1 Fantasia in A minor 14.43 Robert Schumann Phantasie a-Moll · Fantaisie en la mineur · Фантазия ля минор 7 Concerto movement in D minor (McCorkle B5) 7.59 Allegro affettuoso – Andante espressivo – Allegro – a Tempo I – Allegro molto Konzertsatz d-Moll · Mouvement de concert en ré mineur Концертная часть ре минор 2 Thème sur le nom « ABEGG » Un poco maestoso – Allegro passionato ( précédé d’une introduction ) 3.27 Reconstructed and completed by/rekonstruiert und ergänzt von/ reconstitué et complété par Jozef De Beenhouwer Introduzione. Poco andante – Tema. Animato Реконструкция и дополнение Йозефа Де Беенхауера Piano concerto in F major (McCorkle B3) Adolph Henselt (1814–1889) & Robert Schumann Klavierkonzert F-Dur · Concerto pour piano et orchestre en fa majeur Фортепианный концерт фа мажор Piano concerto in F minor op. 16 (McCorkle O5) 3 I. Allegro – Vivace – Tempo I – Più andante – Tempo I – Vivace 14.32 Klavierkonzert f-Moll op. 16 · Concerto pour piano et orchestre en fa mineur op. 16 Фортепианный концерт фа минор соч.16 4 II. Andante – Lento – Tempo I 6.09 8 I. Allegro moderato – Religioso – Tempo I 15.09 5 III. Finale. Più mosso 7.15 9 II. Larghetto 9.43 Reconstructed and orchestrated by/rekonstruiert und orchestriert von/ reconstitué et orchestré par Lev Vinocour/Реконструкция и оркестровка Льва Винокура 10 III. Allegro agitato 9.19 Clara Wieck (1819–1896) & Robert Schumann Robert Schumann 6 Concerto movement in A minor (McCorkle O10) 9.54 Piano concerto in A minor op. 54 Konzertsatz a-Moll · Mouvement de concert en la mineur Klavierkonzert a-Moll op. 54 · Concerto pour piano et orchestre en la mineur op. 54 Концертная часть ля минор Фортепианный концерт ля минор соч.54 Allegro non troppo – Allegro molto 11 I. Allegro affettuoso 15.08 12 II. Intermezzo. Andante grazioso 5.56 13 III. Allegro vivace 10.55 2 3 Konzertstueck for 4 horns and orchestra in F major op. 86 This recording is generously supported by: Concert version for piano and orchestra Konzertstück für 4 Hörner und Orchester F-Dur op. 86 Konzert-Edition für Klavier und Orchester Konzertstueck pour quatre cors et orchestre en fa majeur Version de concert pour piano et orchestre Концертштюк для 4 валторн с оркестром соч.86 Концертная версия для фортепиано с оркестром The welfare foundation called “INTERNATIONAL FOUNDATION FOR CULTURE AND CIVILIZATION” was initiated in 1995 by german industrialist Erich Fischer (*1938) in Munich. 14 I. Lebhaft 7.22 The founder himself is best known as an outstanding personality of social importance, whose 15 II. Romanze. Ziemlich langsam 5.14 spirited engagement, wide range of ideas and substantial financial endowment made it possible 16 III. Sehr lebhaft 6.19 for the “International Foundation” to become one of the leading european institutions of its kind. Just one of the projects should be mentioned here, the so called “Music in the Afternoon”, which since 1996 allowed about 400.000 elderly people in Germany and other european countries to 17 Introduction and Allegro appassionato in G major op. 92 17.02 enjoy classical music in ca. 2.600 events of high level held in venues of importance. The funds G-Dur · en sol majeur dedicated to this enterprise in the last years amounted to 7,5 m. Euro. Интродукция и аллегро аппассионато соль мажор соч.92 Introduction. Langsam – Allegro 18 Concert-Allegro with Introduction in D minor op. 134 15.52 d-Moll · en ré mineur Концертное аллегро с интродукцией ре минор соч.134 Ziemlich langsam – Lebhaft LEV VINOCOUR PIANO ORF VIENNA RADIO SYMPHONY ORCHESTRA JOHANNES WILDNER CONDUCTOR With our sincere gratitude to Dr. Gisela Schäfer, Foundress of the Robert Schumann Society, Düsseldorf Recording: August 18–21, 2009, October 28–30, 2009, November 23–25, 2009 Mr. Christian Scheib, Manager and Artistic director, ORF Vienna RSO and January 25, 26 & 28, 2010, ORF RadioKulturhaus, Großer Sendesaal, Vienna Prof. Dr. Martin Staehelin, Göttingen University Recording producer: Erich Hofmann · Recording engineer: Josef Schütz Digital editing and mastering: Erich Hofmann and Josef Schütz · Piano technician: Robert Ritscher Prof. Dr. Thomas Kohlhase, Tübingen University Executive producer: Martin Korn Ms. Christiane Weidlich, Bonn University Library Cover artwork: Maurice van Brast · Design & booklet editing: Christine Schweitzer, Köln Dr. Elena Nekrasova and Dr. Tamara Skvirskaya, Library of St.Petersburg Conservatoire Photo: Frank Schemmann (Vinocour), Dieter Nagl (Wildner) Dr. Natalya Braginskaya, St.Petersburg Conservatoire Total time: 3:01:50 for their ubiquitous invaluable help. 4 5 “A man can be killed just through systematic the epic.”; “Schumann is forced to seek his ideal – the ideal of the young generation – and to misunderstanding ... and the crucial part in this wrestle with its shape; he is by no means finished, and his direction is not yet plain and fully perpetration done on every second and without breaking work ed out for us to see... Or are his more recent large-scale compositions only a second the law can become every other man’s destiny....” phase in his development, elevating it in order to reach an all-embracing third standpoint?” (Rev. Jonathan Swift, Miscellanies, 1727) Precisely ten years later, in 1855, while Schumann was still alive, a major essay appea r edfrom the pen of Franz Liszt, in which he restated an opinion he had already expressed in an article Hardly any other musical genius has been more fundamentally misunderstood than that written for the Parisian Gazette musicale in 1837. Schumann, he maintained, was a highly in - taciturn nonconformist, Robert Schumann. He struggled meticulously and fervidly in his Neue teresting and even brilliant master of small forms who, however, was limit edin significance and Zeitschrift für Musik against everything lacking in spirit and outdated in form – in short, influence by his ineffective (pianistic) manner of composing. Liszt, in his unimpeachable against everything that has gone down in the history of culture as what he so me morably termed magnanimity, considered all of this to be very positive and complimentary; but together with “Philistinism.” Yet, as it turned out, it was the Philistines who co-op t ed Schumann’s music for the letter he wrote to Schumann’s first biographer, Wil helmJoseph von Wasielewski – a letter themselves. Some of his contemporaries, including a few alleged friends and disciples, hastened in which he admitted that neither in the salons nor in the concert halls was he able to gain an his demise with their incomprehension and, after 1856, systematically and tendentiously audience for Schumann’s music – his essay achiev edthe exact opposite of what he intended. distorted his musical legacy. The list ranges from mid-nineteenth-century musicographers The ironic bon mot, “The enemy of the good is the well-intentioned,” might equally be (Franz Brendel) to such latter-day Schumann scholars as Wolfgang Boetticher. Who are these applied to the activities of Clara Wieck-Schumann over more than five decades. It is not my people who foisted such wrong-headed yet tenacious theories upon the world? intention to criticize this towering artist; nor would this be the right place to do so. But it is In 1845 Schumann completed his Piano Concerto, op. 54. In the same year Franz Brendel, an incontestable fact that Clara avidly sought to limit her husband’s contacts with his fellow Schumann’s successor as editor-in-chief of the Neue Zeitschrift für Musik, wrote two longish musicians during his lifetime and attempted to impose Felix Mendels sohn on him as a role essays. The first put an end to Schumann’s creative principles of music criticism. The second, model. This caused Schumann to compose a number of works which were meant to satisfy entitled “Robert Schumann with Regard to Mendelssohn Bartholdy and the Development of an allegedly large public demand, but were neither financially nor artistically beneficial to his Modern Composition Altogether,” claimed: “Thus were younger composers given a twin reputation. All of this and much more contributed to the constantly growing incomprehension point of departure: either to enter the circles of the Mozart school and proceed from the surrounding the increasingly helpless genius. objective element, or to continue in the spiritualistic manner of Beethoven and probe ever Following Schumann’s silent and sorrowful demise, the situation changed only insofar as more deeply into their own psyches. The first was the task of Mendelssohn, the second that Clara now prevailed alone and posed as a sort of de facto guardian of the Sacred Flame. At first of R. Schumann.” Just how fallacious this is becomes apparent when we contrast Schumann’s with the assistance of Brahms and Joachim, then entirely by her own decree, she decided which own maxims (“The first conception is always the natural and best one; reason errs, feelings of Schumann’s works were to be made public and how this was to happen. Many compositions never” and “I don’t even want everyone to understand me”) with Beethoven’s well-known vanished, presumably forever; others, such as the Violin Concerto, were kept secret; and still working method, doggedly weighing every detail, and his awareness of his own historical and others, such as the Etudes symphoniques

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