Hideyo Harada - Schumann: Fantasie, Kreisleriana & Arabeske (2010) [Hi-Res]
![Hideyo Harada - Schumann: Fantasie, Kreisleriana & Arabeske (2010) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-07/1658136870_hideyo-harada-schumann-fantasie-kreisleriana-arabeske-2010.jpg)
BAND/ARTIST: Hideyo Harada
- Title: Schumann: Fantasie, Kreisleriana & Arabeske
- Year Of Release: 2010/2016
- Label: audite Musikproduktion
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 44.1kHz
- Total Time: 01:18:41
- Total Size: 273 / 630 mb
- WebSite: Album Preview
Tracklist
01. Fantasie C-Dur, Op. 17: I. Durchaus phantastisch und leidenschaftlich vorzutragen
02. Fantasie C-Dur, Op. 17: II. Mäßig. Durchaus energisch
03. Fantasie C-Dur, Op. 17: III. Langsam getragen. Durchweg leise zu halten
04. Kreisleriana, Op. 16: No. 1: Äusserst bewegt
05. Kreisleriana, Op. 16: No. 2: Sehr innig und nicht zu rasch
06. Kreisleriana, Op. 16: No. 3: Sehr aufgeregt
07. Kreisleriana, Op. 16: No. 4, Sehr langsam
08. Kreisleriana, Op. 16: No. 5: Sehr lebhaft
09. Kreisleriana, Op. 16: No. 6: Sehr langsam
10. Kreisleriana, Op. 16: No. 7: Sehr rasch
11. Kreisleriana, Op. 16: No. 8: Schnell und spielend
12. Arabeske, Op. 18: Leicht und zart
![Hideyo Harada - Schumann: Fantasie, Kreisleriana & Arabeske (2010) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-07/1658136822_hideyo-harada-schumann-fantasie-kreisleriana-arabeske-2010-back.jpg)
Following the highly successful releases of works by Grieg, Tchaikovsky / Rachmaninov and Schumann, the Japanese born pianist Hideyo Harada now presents her fourth SACD.
Two main works from Schubert’s piano music, two solutions for the great form, two approaches in composing musical time. From the outside, they appear as contrary poles in Schubert’s pianistic œuvre: energetic, resolute and sometimes boastful in the case of the Wanderer Fantasy, whereas the final piano sonata is restrained, elusive and at times faltering. That, at least, is the impression given by the outer movements. The common elements are in the slow movements. No other Romantic addressed so radically what is brought into focus here: the notion of time. In the Wanderer Fantasy it is reflected as rhythm, as “measured time”: Schubert developed the piece from a central rhythm. The sonata questions the course of time itself, the elementary medium of life in music, by breaking off and starting afresh, roaming and stretching, with an agility which mistrusts itself. The great question marks are in the central, slow pieces. They lead to a central motif in Schubert’s thinking and feelings: the wanderer to whose symbolic character he dedicated an early song.
01. Fantasie C-Dur, Op. 17: I. Durchaus phantastisch und leidenschaftlich vorzutragen
02. Fantasie C-Dur, Op. 17: II. Mäßig. Durchaus energisch
03. Fantasie C-Dur, Op. 17: III. Langsam getragen. Durchweg leise zu halten
04. Kreisleriana, Op. 16: No. 1: Äusserst bewegt
05. Kreisleriana, Op. 16: No. 2: Sehr innig und nicht zu rasch
06. Kreisleriana, Op. 16: No. 3: Sehr aufgeregt
07. Kreisleriana, Op. 16: No. 4, Sehr langsam
08. Kreisleriana, Op. 16: No. 5: Sehr lebhaft
09. Kreisleriana, Op. 16: No. 6: Sehr langsam
10. Kreisleriana, Op. 16: No. 7: Sehr rasch
11. Kreisleriana, Op. 16: No. 8: Schnell und spielend
12. Arabeske, Op. 18: Leicht und zart
Following the highly successful releases of works by Grieg, Tchaikovsky / Rachmaninov and Schumann, the Japanese born pianist Hideyo Harada now presents her fourth SACD.
Two main works from Schubert’s piano music, two solutions for the great form, two approaches in composing musical time. From the outside, they appear as contrary poles in Schubert’s pianistic œuvre: energetic, resolute and sometimes boastful in the case of the Wanderer Fantasy, whereas the final piano sonata is restrained, elusive and at times faltering. That, at least, is the impression given by the outer movements. The common elements are in the slow movements. No other Romantic addressed so radically what is brought into focus here: the notion of time. In the Wanderer Fantasy it is reflected as rhythm, as “measured time”: Schubert developed the piece from a central rhythm. The sonata questions the course of time itself, the elementary medium of life in music, by breaking off and starting afresh, roaming and stretching, with an agility which mistrusts itself. The great question marks are in the central, slow pieces. They lead to a central motif in Schubert’s thinking and feelings: the wanderer to whose symbolic character he dedicated an early song.
Year 2016 | Classical | FLAC / APE | HD & Vinyl
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