Marco Mantovani - Schumann: Erzählungen Und Märchen (2022)
BAND/ARTIST: Marco Mantovani
- Title: Schumann: Erzählungen Und Märchen
- Year Of Release: 2022
- Label: Etcetera
- Genre: Classical Piano
- Quality: flac lossless (tracks)
- Total Time: 01:10:24
- Total Size: 273 mb
- WebSite: Album Preview
Tracklist
01. Novelletten Op. 21 (1838), No. 1 Markiert Und Kräftig
02. Novelletten Op.21 (1838), No. 2 ÄUßerst Rasch Und Mit Bravour
03. Novelletten Op. 21 (1838), No. 3 Leicht Und Mit Humor
04. Novelletten Op. 21 (1838), No. 4 Ballmäßig. Sehr Munter
05. Novelletten Op. 21 (1838), No. 5 Rauschend Und Festlich
06. Novelletten Op. 21 (1838), No. 6 Sehr Lebhaft Mit Vielem Humor
07. Novelletten Op. 21 (1838), No. 7 ÄUßerst Rasch
08. Novelletten Op. 21 (1838), No. 8 Sehr Lebhaft
09. Kinderszenen Op. 15 (1838), No. 1 Von Fremden Ländern Und Menschen
10. Kinderszenen Op. 15 (1838), No. 2 Curiose Geschichte
11. Kinderszenen Op. 15 (1838), No. 3 Hasche-Mann
12. Kinderszenen Op. 15 (1838), No. 4 Bittendes Kind
13. Kinderszenen Op. 15 (1838), No. 5 Glückes Genug
14. Kinderszenen Op. 15 (1838), No. 6 Wichtige Begebenheit
15. Kinderszenen Op. 15 (1838), No. 7 Träumerei
16. Kinderszenen Op. 15 (1838), No. 8 Am Camin
17. Kinderszenen Op. 15 (1838), No. 9 Ritter Vom Steckenpferd
18. Kinderszenen Op. 15 (1838), No. 10 Fast Zu Ernst
19. Kinderszenen Op. 15 (1838), No. 11 Fürchtenmachen
20. Kinderszenen Op. 15 (1838) No. 12 Kind Im Einschlummern
21. Kinderszenen Op. 15 (1838), No. 13 Der Dichter Spricht
A new recording of piano pieces by Robert Schumann; why does Schumann, after nearly two Centuries (Novelletten and Kinderszenen were composed in 1838), still speak to us? To my mind, Schumann is a composer with whom it is natural to empathize. He possesses the rare ability to penetrate into the depths of the human spirit and to perceive its every psychological facet. Through his music, Schumann bares his soul with unequalled honesty and establishes an intimate dialogue with his listener. With this first album, I wanted to pay homage to a composer that I love almost unreasonably.
The reasons for accompanying what is probably Schumann’s most popular work, Kinderszenen (Scenes from Childhood), with the magnificent and rarely performed cycle of Novelletten are several. The two works were composed in the same months of 1838 and the pieces that came together to form Kinderszenen were originally conceived as part of the same project as Novelletten. Schumann wrote in his diary that he composed a polonaise for the Novelletten (n.5) and Glückes genug during the same couple of days. The intimate middle section of the same Novellette n.5 (bars 88-111) was at first intended as a piece for the Kinderszenen. Moreover, in a letter to the publisher Breitkopf&Härtel (21 March 1838) Schumann confesses that his Kinderszenen were originally intended to serve as an appendix (Anhang) to the Novelletten. This might seem odd at first. On the surface these works have many more differences than analogies. They seem light years apart. However, they might have a common poetic inspiration.
Marco Mantovani, born in Mantova (Italy) in 1992, has graduated at the Conservatory of his city under the guidance of Antonio Pulleghini with the highest grades and honors. Afterwards he studied for three years with Andrea Lucchesini at “Scuola di Musica di Fiesole” (Florence, Italy), graduating with honors.
His repertoire ranges from Bach to Contemporary music; in 2017 he performed as soloist the Kammerkonzert ‘Intarsi’ by Klaus Huber (1924-2017) under the direction of Bart Bouckaert in the Concert Hall of the Brussels Conservatory, première of this piece in Brussels. His passion for chamber music drives him to regularly perform with several musicians and he is founding member of “Egmont Chamber Music”.
He is Assistant professor of Piano at the Koninklijk Conservatorium Brussel and Piano professor at Conservatoire de Pantin (Paris) as well as PhD researcher at the Koninklijk Conservatorium Brussel and Vrije Universiteit Brussel in the ‘Doctorate in the Arts’.
01. Novelletten Op. 21 (1838), No. 1 Markiert Und Kräftig
02. Novelletten Op.21 (1838), No. 2 ÄUßerst Rasch Und Mit Bravour
03. Novelletten Op. 21 (1838), No. 3 Leicht Und Mit Humor
04. Novelletten Op. 21 (1838), No. 4 Ballmäßig. Sehr Munter
05. Novelletten Op. 21 (1838), No. 5 Rauschend Und Festlich
06. Novelletten Op. 21 (1838), No. 6 Sehr Lebhaft Mit Vielem Humor
07. Novelletten Op. 21 (1838), No. 7 ÄUßerst Rasch
08. Novelletten Op. 21 (1838), No. 8 Sehr Lebhaft
09. Kinderszenen Op. 15 (1838), No. 1 Von Fremden Ländern Und Menschen
10. Kinderszenen Op. 15 (1838), No. 2 Curiose Geschichte
11. Kinderszenen Op. 15 (1838), No. 3 Hasche-Mann
12. Kinderszenen Op. 15 (1838), No. 4 Bittendes Kind
13. Kinderszenen Op. 15 (1838), No. 5 Glückes Genug
14. Kinderszenen Op. 15 (1838), No. 6 Wichtige Begebenheit
15. Kinderszenen Op. 15 (1838), No. 7 Träumerei
16. Kinderszenen Op. 15 (1838), No. 8 Am Camin
17. Kinderszenen Op. 15 (1838), No. 9 Ritter Vom Steckenpferd
18. Kinderszenen Op. 15 (1838), No. 10 Fast Zu Ernst
19. Kinderszenen Op. 15 (1838), No. 11 Fürchtenmachen
20. Kinderszenen Op. 15 (1838) No. 12 Kind Im Einschlummern
21. Kinderszenen Op. 15 (1838), No. 13 Der Dichter Spricht
A new recording of piano pieces by Robert Schumann; why does Schumann, after nearly two Centuries (Novelletten and Kinderszenen were composed in 1838), still speak to us? To my mind, Schumann is a composer with whom it is natural to empathize. He possesses the rare ability to penetrate into the depths of the human spirit and to perceive its every psychological facet. Through his music, Schumann bares his soul with unequalled honesty and establishes an intimate dialogue with his listener. With this first album, I wanted to pay homage to a composer that I love almost unreasonably.
The reasons for accompanying what is probably Schumann’s most popular work, Kinderszenen (Scenes from Childhood), with the magnificent and rarely performed cycle of Novelletten are several. The two works were composed in the same months of 1838 and the pieces that came together to form Kinderszenen were originally conceived as part of the same project as Novelletten. Schumann wrote in his diary that he composed a polonaise for the Novelletten (n.5) and Glückes genug during the same couple of days. The intimate middle section of the same Novellette n.5 (bars 88-111) was at first intended as a piece for the Kinderszenen. Moreover, in a letter to the publisher Breitkopf&Härtel (21 March 1838) Schumann confesses that his Kinderszenen were originally intended to serve as an appendix (Anhang) to the Novelletten. This might seem odd at first. On the surface these works have many more differences than analogies. They seem light years apart. However, they might have a common poetic inspiration.
Marco Mantovani, born in Mantova (Italy) in 1992, has graduated at the Conservatory of his city under the guidance of Antonio Pulleghini with the highest grades and honors. Afterwards he studied for three years with Andrea Lucchesini at “Scuola di Musica di Fiesole” (Florence, Italy), graduating with honors.
His repertoire ranges from Bach to Contemporary music; in 2017 he performed as soloist the Kammerkonzert ‘Intarsi’ by Klaus Huber (1924-2017) under the direction of Bart Bouckaert in the Concert Hall of the Brussels Conservatory, première of this piece in Brussels. His passion for chamber music drives him to regularly perform with several musicians and he is founding member of “Egmont Chamber Music”.
He is Assistant professor of Piano at the Koninklijk Conservatorium Brussel and Piano professor at Conservatoire de Pantin (Paris) as well as PhD researcher at the Koninklijk Conservatorium Brussel and Vrije Universiteit Brussel in the ‘Doctorate in the Arts’.
Year 2022 | Classical | FLAC / APE
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