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The Circle Of Robert Schumann Vol 2

Schumann,R / Schumann,C / Kirchner / Brunner
Release Date: 01/31/2012 
Label:  Capriccio Records   Catalog #: 5074   Spars Code: n/a 
Composer:  Robert SchumannClara Wieck SchumannAlbert DietrichJohannes Brahms,   ... 
Performer:  Wolfgang BrunnerGudrun Schaumann
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 12 Mins. 

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Notes and Editorial Reviews



SCHUMANN Fantasy Pieces, op. 73 . Adagio and Allegro, op.70. 5 Pieces in Folk Style. Evening Song & Gudrun Schaumann (vn); Wolfgang Brunner (fp) CAPRICCIO 5074 (2 CDs: 69:01, 70:33)


& C. SCHUMANN 4 Songs. DIETRICH Read more class="ARIAL12b">“F.A.E.” Sonata: Allegro. BRAHMS “F.A.E.” Sonata: Allegro. KIRCHNER Romance and Lullaby . 12 Fantasy Pieces. REINECKE Violin Sonata in e


In Fanfare 34:3 I had the opportunity to review the first volume of this series, the main attraction being the Schumann violin sonatas, but whose ultimate worth were the peripheral, Schumann-circle works by Woldemar Bargiel and Joseph Joachim, perfectly apropos for the series title, The Circle of Robert Schumann. This issue revolves around the acquaintances even more intensely as the circle is expanded to include two premiere recordings; more on that in a moment.


There is not as much by Robert on this release; most of his work is the violin transcriptions of his shorter chamber pieces that were originally penned for other, specifically woodwind, instruments, with the exception of the Folk Style pieces, which were done for cello. These so-called “mood pieces” (notes) are in fact some of the most emotionally concentrated, powerfully cellular music he ever wrote. Though Schumann himself made some of the transcriptions and certainly approved of the practice (his publisher likely had some done also), I have never been as convinced by the music played on alternative instruments. Schumann had a particular sound in mind when he wrote these pieces, and it’s hard to imagine the allegro from the Adagio and Allegro to have been written for anything but the horn. Gudrun Schaumann plays them about as well as I can imagine, though in the end it’s not quite enough for me. Though these are period performances, she has a wildness about her playing that betrays any sense of HIP orthodoxy, and her inconsistent approach to stylistic concerns baffles me now as it did on the first release—check the Fanfare Archive for more information.


But her playing is still highly communicative, and when we reach composers where comparisons become more difficult—or impossible—she has the field to herself. Theodor Kirchner (1823–1903) is today known primarily for his many piano pieces (more than 1,000, in fact), and his chamber music is also receiving fresh attention in concert and on disc. Kirchner met Schumann when he was 14 and had moved to Leipzig, and the master encouraged him greatly, even granting him a favorable review for his op. 1 songs in the Neue Zeitschrif fürMusik . His career was hit and miss—though he studied with Mendelssohn and counted Brahms as a friend, who provided him with financial support later in life, he was temperamentally unsuited to differing activities of musical life and was rarely happy. However, as these two works prove, his talent was considerable, and these first recordings should raise the eyebrows of those to whom his name is unfamiliar.


Carl Reinecke (1824–1910), on the other hand, was an immensely successful musician who took over the reins of the Leipzig Gewandhaus Orchestra upon the departure of Julius Rietz, who had in turn taken over from Mendelssohn. Reinecke felt he was not up to the task, yet remained there for the next 35 years. He knew Schumann’s music from an early age, and after he had the opportunity to perform some chamber music of the composer’s with the master present, his trips to the Schumann household became regular. This 1873 sonata, one of almost 300 compositions, was dedicated to Ferdinand David, the concertmaster of the Gewandhaus and close friend of Mendelssohn. It is a fully developed, sophisticated, and complex piece of music that passes quickly because of its wonderful melodic propensities and thematically interesting connections. This 30-minute work is a great find, another premiere recording.


I have always hoped that the famous “F.A.E.” Sonata, a piece written in collaboration by Schumann (movements 2 and 4), Brahms (3), and Albert Dietrich (1829–1908, movement 1), would be recorded. Perhaps it has and I have not seen it yet (though Steven Isserlis has transcribed it for cello), and even here my wish is not fulfilled as only the Brahms and Dietrich offerings are given. But perhaps I can rip the two Schumann movements from the third sonata on the first volume (Schumann incorporated the music into his own unique Sonata No. 3 later on). The work was intended as a tribute to Joachim, who was to guess who composed which movement (he did so with ease when he and Clara first performed the work), and the appellation was devised from the violinist’s personal motto, Frei aber einsam (free but lonely). It was not published until 1935.


The remaining works are four songs by Clara Schumann, nicely rendered though only newly transcribed by Schaumann, the only mixed connection on these discs, but still worthwhile. An interesting series well worth exploring, and a fine concept to boot.


FANFARE: Steven E. Ritter
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Works on This Recording

1. Phantasiestücke (3) for Clarinet and Piano, Op. 73 by Robert Schumann
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Period: Romantic 
Written: 1849; Germany 
Length: 10 Minutes 12 Secs. 
2. Adagio and Allegro for Cello and Piano in A flat major, Op. 70 by Robert Schumann
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: 1849; Germany 
Length: 8 Minutes 24 Secs. 
3. Stücke (5) im Volkston for Cello and Piano, Op. 102 by Robert Schumann
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Period: Romantic 
Written: 1849; Germany 
Length: 14 Minutes 38 Secs. 
4. Schtücke, Op. 85: No. 12. Abendlied by Robert Schumann
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Period: Romantic 
Written: 1849 
Length: 2 Minutes 20 Secs. 
5. Mein Stern by Clara Wieck Schumann
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: 1846; Germany 
Length: 2 Minutes 35 Secs. 
6. Beim Abschied by Clara Wieck Schumann
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: 1846; Germany 
Length: 2 Minutes 32 Secs. 
7. Lieder (6), Op. 13: no 1, Ich stand in dunkeln Träumen "Ihr Bildnis" by Clara Wieck Schumann
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: Germany 
Length: 2 Minutes 11 Secs. 
8. Lieder aus Jucunde (6), Op. 23: no 3, Geheimes Flüstern by Clara Wieck Schumann
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: 1853; Germany 
Length: 2 Minutes 50 Secs. 
9. Allegro in A minor for Violin and Piano "FAE Sonata" by Albert Dietrich
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Period: Romantic 
Written: Austria 
Length: 13 Minutes 26 Secs. 
10. Scherzo for Violin and Piano in C minor, WoO 2 "FAE Sonata" by Johannes Brahms
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Period: Romantic 
Written: 1853; Germany 
Length: 5 Minutes 40 Secs. 
11. Songs (8), Op. 59: no 3, Regenlied by Johannes Brahms
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: 1873; Austria 
Length: 4 Minutes 18 Secs. 
12. Romanze und Schlummerlied, for violin & piano, Op. 63 by Theodor Kirchner
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Written: 1884 
Length: 9 Minutes 7 Secs. 
13. Fantasy Pieces (12) for piano, Op. 90 by Theodor Kirchner
Performer:  Wolfgang Brunner (Fortepiano), Gudrun Schaumann (Violin)
Written: 1890 
Length: 22 Minutes 16 Secs. 
14. Sonata for violin & piano in E minor, Op. 116 by Carl Reinecke
Performer:  Gudrun Schaumann (Violin), Wolfgang Brunner (Fortepiano)
Period: Romantic 
Written: 1872 
Length: 27 Minutes 58 Secs. 

Sound Samples

Fantasiestucke, Op. 73: No. 1. Zart und mit Ausdruck
Fantasiestucke, Op. 73: No. 2. Lebhaft, leicht
Fantasiestucke, Op. 73: No. 3. Rasch und mit Feuer
Adagio and Allegro, Op. 70
5 Stucke im Volkston (5 Pieces in Folk Style), Op. 102: No. 1. Mit Humor
5 Stucke im Volkston (5 Pieces in Folk Style), Op. 102: No. 2. Langsam
5 Stucke im Volkston (5 Pieces in Folk Style), Op. 102: No. 3. Nicht schnell, mit viel Ton zu spielen
5 Stucke im Volkston (5 Pieces in Folk Style), Op. 102: No. 4. Nicht zu rasch
5 Stucke im Volkston (5 Pieces in Folk Style), Op. 102: No. 5. Stark und markiert
12 Klavierstucke, Op. 85: No. 12. Abendlied (arr. J. Joachim)
Mein Stern (arr. G. Schaumann)
Beim Abschied (arr. G. Schaumann)
6 Lieder, Op. 13: No. 1. Ich stand in dunkeln Traumen (arr. G. Schaumann)
6 Lieder aus Jucunde, Op. 23 (arr. G. Schaumann): 6 Lieder aus Jucunde, Op. 23: No. 3. Geheimes Flustern (arr. G. Schaumann)
Violin Sonata in A minor, "F-A-E": I. Dietrich: Allegro in A minor
Violin Sonata in A minor, "F-A-E": III. Brahms: Scherzo in C minor, WoO 2: Allegro
8 Lieder und Gesange, Op. 59 (arr. G. Schaumann): 8 Lieder und Gesange, Op. 59: No. 3. Regenlied (arr. G. Schaumann)
Schlummerlied und Romanze, Op. 63: I. Romanze
Schlummerlied und Romanze, Op. 63: II. Schlummerlied
12 Fantasiestucke, Op. 90: No. 1. -
12 Fantasiestucke, Op. 90: No. 2. -
12 Fantasiestucke, Op. 90: No. 3. -
12 Fantasiestucke, Op. 90: No. 4. -
12 Fantasiestucke, Op. 90: No. 5. -
12 Fantasiestucke, Op. 90: No. 6. -
12 Fantasiestucke, Op. 90: No. 7. -
12 Fantasiestucke, Op. 90: No. 8. -
12 Fantasiestucke, Op. 90: No. 9. -
12 Fantasiestucke, Op. 90: No. 10. -
12 Fantasiestucke, Op. 90: No. 11. -
12 Fantasiestucke, Op. 90: No. 12. -
Violin Sonata in E minor, Op. 116: I. Allegro con fuoco
Violin Sonata in E minor, Op. 116: II. Andante, ma non troppo lento
Violin Sonata in E minor, Op. 116: III. Finale: Allegro con brio

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