Francesco Bossone & Monaldo Braconi - Robert Schumann: Folie romantique (Music for Bassoon and Piano) (2021)
BAND/ARTIST: Francesco Bossone, Monaldo Braconi
- Title: Robert Schumann: Folie romantique (Music for Bassoon and Piano)
- Year Of Release: 2021
- Label: Da Vinci Classics
- Genre: Classical
- Quality: FLAC (tracks)
- Total Time: 50:57
- Total Size: 209 MB
- WebSite: Album Preview
Tracklist:
01. Dichterliebe, Op. 48: No. 1, Im wunderschönen Monat Mai -Langsam, zart
02. Dichterliebe, Op. 48: No. 2, Aus meinen Tränen sprießen - Nicht schnell
03. Dichterliebe, Op. 48: No. 3, Die Rose, die Lilie, die Taube - Munter
04. Dichterliebe, Op. 48: No. 4, Wenn ich in deine Augen seh'
05. Dichterliebe, Op. 48: No. 7, Ich grolle nicht - Nicht zu schnell
06. Dichterliebe, Op. 48: No. 12, Am leuchtenden Sommermorgen- Ziemlich langsam
07. Fantasiestücke in A Minor, Op. 73: No. 1, Zart und mit Ausdruck
08. Fantasiestücke in A Minor, Op. 73: No. 2, Lebhaft, leicht
09. Fantasiestücke in A Minor, Op. 73: No. 3, Rasch und mit Feuer
10. Adagio and Allegro, Op. 70: No. 1, Langsam, mit innigem Ausdruck.
11. Adagio and Allegro, Op. 70: No. 2, Rasch und feurig - Etwas ruhiger - Tempo I
12. Fünf Stücke im Volkston, Op. 102: No. 1, "Vanitas vanitatum" Mit Humor
13. Fünf Stücke im Volkston, Op. 102: No. 2, Langsam
14. Fünf Stücke im Volkston, Op. 102: No. 3, Nicht schnell, mit viel Ton zu spielen
15. Fünf Stücke im Volkston, Op. 102: No. 4, Nicht zu rasch
16. Fünf Stücke im Volkston, Op. 102: No. 5, Stark und markiert
17. Drei Romanzen, Op. 94: No. 1, Nicht schnell
18. Drei Romanzen, Op. 94: No. 2, Einfach, innig
19. Drei Romanzen, Op. 94: No. 3, Nicht schnell
01. Dichterliebe, Op. 48: No. 1, Im wunderschönen Monat Mai -Langsam, zart
02. Dichterliebe, Op. 48: No. 2, Aus meinen Tränen sprießen - Nicht schnell
03. Dichterliebe, Op. 48: No. 3, Die Rose, die Lilie, die Taube - Munter
04. Dichterliebe, Op. 48: No. 4, Wenn ich in deine Augen seh'
05. Dichterliebe, Op. 48: No. 7, Ich grolle nicht - Nicht zu schnell
06. Dichterliebe, Op. 48: No. 12, Am leuchtenden Sommermorgen- Ziemlich langsam
07. Fantasiestücke in A Minor, Op. 73: No. 1, Zart und mit Ausdruck
08. Fantasiestücke in A Minor, Op. 73: No. 2, Lebhaft, leicht
09. Fantasiestücke in A Minor, Op. 73: No. 3, Rasch und mit Feuer
10. Adagio and Allegro, Op. 70: No. 1, Langsam, mit innigem Ausdruck.
11. Adagio and Allegro, Op. 70: No. 2, Rasch und feurig - Etwas ruhiger - Tempo I
12. Fünf Stücke im Volkston, Op. 102: No. 1, "Vanitas vanitatum" Mit Humor
13. Fünf Stücke im Volkston, Op. 102: No. 2, Langsam
14. Fünf Stücke im Volkston, Op. 102: No. 3, Nicht schnell, mit viel Ton zu spielen
15. Fünf Stücke im Volkston, Op. 102: No. 4, Nicht zu rasch
16. Fünf Stücke im Volkston, Op. 102: No. 5, Stark und markiert
17. Drei Romanzen, Op. 94: No. 1, Nicht schnell
18. Drei Romanzen, Op. 94: No. 2, Einfach, innig
19. Drei Romanzen, Op. 94: No. 3, Nicht schnell
“Our last word will be the most beautiful. A small German word: Liebe. Love”
Robert Schumann had met Clara, the daughter of his piano teacher Friedrich Wieck, when she was 11 years old; by the time she was 15, he was crazily in love with her. It was one of those typically Romantic loves, lived at a distance and accomplished in the spasmodic quest for a stolen gaze, in unavoidably Platonic passions, between the lines of an infinite exchange of letters. Under this viewpoint, Schumann assumed, and fully embodied, the typical traits of the Romantic artist: capable of passionate outbursts, entirely inebriated by that Romantic Sehnsucht, the emotional heartache whereby life and art are united and confused. He knew the emotional storms built on the simple thought of his absent beloved; storms capable of taking one’s breath away and to disrupt one’s entire existence, plunging those living them into a strange torpor and an infinite malaise, to which art alone could give respite. These were the feelings of a bourgeois society, forged upon the values of a deeply Lutheran and typically German ethics, miles away from that material and concrete hedonism in which a sick aristocracy (not long before) had consumed its love relationships in the palaces’ alcoves. Just a few years had passed, but they were sufficient for a change of century, and for immersing us, as previously said, in the Romantic climate of pure feeling, in quest of a more intimate and spiritual love. “I have been here for an hour. For the whole evening, I have tried to write to you, but I cannot find the words. Sit by me, surround me by your arms; let us look each other in the eyes, and be tranquil, happy. In this world there are two human beings loving each other. From afar they sing a chorale to each other. Do you know these two beings? How happy we are, Clara! Let us knee down. Come, my Clara, I feel you here, close by me. Our last world will be the most beautiful. A small German word: Liebe [love]”. [Letter to Clara, December 1837].
Robert Schumann had met Clara, the daughter of his piano teacher Friedrich Wieck, when she was 11 years old; by the time she was 15, he was crazily in love with her. It was one of those typically Romantic loves, lived at a distance and accomplished in the spasmodic quest for a stolen gaze, in unavoidably Platonic passions, between the lines of an infinite exchange of letters. Under this viewpoint, Schumann assumed, and fully embodied, the typical traits of the Romantic artist: capable of passionate outbursts, entirely inebriated by that Romantic Sehnsucht, the emotional heartache whereby life and art are united and confused. He knew the emotional storms built on the simple thought of his absent beloved; storms capable of taking one’s breath away and to disrupt one’s entire existence, plunging those living them into a strange torpor and an infinite malaise, to which art alone could give respite. These were the feelings of a bourgeois society, forged upon the values of a deeply Lutheran and typically German ethics, miles away from that material and concrete hedonism in which a sick aristocracy (not long before) had consumed its love relationships in the palaces’ alcoves. Just a few years had passed, but they were sufficient for a change of century, and for immersing us, as previously said, in the Romantic climate of pure feeling, in quest of a more intimate and spiritual love. “I have been here for an hour. For the whole evening, I have tried to write to you, but I cannot find the words. Sit by me, surround me by your arms; let us look each other in the eyes, and be tranquil, happy. In this world there are two human beings loving each other. From afar they sing a chorale to each other. Do you know these two beings? How happy we are, Clara! Let us knee down. Come, my Clara, I feel you here, close by me. Our last world will be the most beautiful. A small German word: Liebe [love]”. [Letter to Clara, December 1837].
Year 2021 | Classical | FLAC / APE
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