Robert Schumann - Bunte Blätter, Op.99 (Egorov)
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- čas přidán 30. 06. 2024
- Pf: Youri Egorov
0:00 - Stücklein No.1
1:46 - Stücklein No.2
2:33 - Stücklein No.3
3:31 - Albumblätter No.1
5:31 - Albumblätter No.2
6:07 - Albumblätter No.3
8:21 - Albumblätter No.4
10:39 - Albumblätter No.5
12:00 - Novellete
14:31 - Präludium
15:37 - Marsch
23:59 - Abendmusik
27:28 - Scherzo
31:23 - Geschwindmarsch - Hudba
Thank you for doing this. Egorov's playing is robust yet poignant. I love how he plays the 2nd Albumblätter, as one terrifying build into something infernal, before rapidly dissipating into nothing.
Great observation. He plays it like it's Rachmaninov
Thanks for uploading
If you're still in the mood of uploading Schumann, I recommend Beatrice Rana's traversal of the Symphonic Etudes from the Cliburn. It's frankly a 10/10 performance that I can hardly believe it's from a competition setting.
What’s the story behind the writing of this piece? The more works i hear of this Composer, the more i want to hear.
The Bunte Blätter Op. 99 and the Albumblätter Op. 124 were both published in the late 1850s. They were initially intended to be published as one collection of 34 pieces titled "Spreu", but Schumann chose to divide this work into two smaller sets upon his publisher's protest.
Both of these sets are comprised of pieces Schumann had written earlier in his life but had hitherto refrained from publishing. Some of these pieces were rejected from earlier compositions. To give some examples: the third Albumblätter was originally intended to be part of the Carnaval Op. 9, and it shares the same A♭ C B motif as some of the pieces in there; the scherzo was taken from sketches for an unfinished symphony and was the only movement completed from it (albeit unorchestrated); and the concluding Geschwindmarsch was originally written for inclusion in Marches Op. 76. Others may have had personal connections to Schumann; for instance, Schumann wrote the first Stücklein in late 1838 as a Christmas gift to his wife Clara. These pieces (and the ones in Op. 124) have a storied history and one which gives insight to Schumann's compositional career.
6:07 the ASCH motif
I wonder if that was a discarded piece from Carnaval.
10:40
請問這首很好聽，作者是誰。
Composer: Robert Schumann
Performer: Youri Egorov
How is it even possible to play the bar at 15:18? That stretch between eb and gb at this speen seems un-human a bit
I can play Eb and Gb in the next octave just fine. However, I assume you meant C and Gb. The answer is, either have big hands, thinner keys, or just do a quick arpeggiation.
I can see someone skipping the Cb in the right hand entirely because you are already playing a Cb octave in the left hand. People also do something similar with the second variation of the Symphonic etudes which also has some less-than-reasonable stretches to the melody.
By arpeggiating it, a "nachschlagen" (afternote) was accepted in that period, or just skipping that intermediate note.