Fantasie Archive

SCHUMANN: Fantasie; Kreislerinana – Collard, p. – La Dolce Volta

SCHUMANN: Fantasie; Kreislerinana – Collard, p. – La Dolce Volta

Jean-Philippe Collard celebrates his long commitment to the passionate and fanciful works of Robert Schumann.  SCHUMANN: Fantasie in C Major, Op. 17; Kreisleriana, Op. 16 – Jean-Philippe Collard, p. – La Dolce Volta LDV 30, 63:57 (1/27/17) [Distr. by Harmonia mundi/PIAS] ****: French pianist Jean-Philippe Collard (b. 1948) prefaces his recording (4-6 April 2016) with a motto from Schumann: “Sometimes bizarre things happen in the heart of man: thus joy and sorrow mingle there in a strange and motley nature.” The world of Robert Schumann conforms to this admission of duality in the nature of man, given his division of his psyche into the personae Florestan and Eusebius. Coincidentally, the Fantasie first came to me via a French pianist, Robert Casadesus, who combined its powerful emotional content with an equally adept sense of its structural power. For many years, the Kreisleriana suite “belonged” Vladimir Horowitz, whose own demons seemed to drive deeply into the labyrinths that the 1838 response to E.T.A. had elicited in Schumann. And since Collard had studied with Horowitz, this recording bears the mantle of tradition. The Fantasie emerges at once passionate and sturdy, lyrically evocative of storms and intimate stresses in its leaps, swirling trills, and […]

“Klavierabend” – Piano works of HAYDN, SCHUMANN & SCRIABIN – Arakawa, p. – MSR Classics

“Klavierabend” – Piano works of HAYDN, SCHUMANN & SCRIABIN – Arakawa, p. – MSR Classics

Pianist Arakawa delivers three keyboard works, each of which owes its passionate urgency to a feminine muse.  “Klavierabend” – HAYDN: Piano Sonata No. 52 in E-flat Major; SCHUMANN: Fantasie in C Major, Op. 17; SCRIABIN: Piano Sonata No. 3 in f-sharp minor, Op. 23 – Jasmin Arakawa, piano – MSR Classics MS 1619, 68:22 (8/17/16)  [Distr. by Albany] ****:  Assuming a romantic’s approach to the three diverse musical styles – the three compositions having been directly motivated by the composer’s relationship to a significant woman – Ms. Arakawa displays many colorful moments in her intense survey of Haydn, Schumann, and Scriabin. Each of the works means to express an experimental, improvisational spirit.  Haydn’s 1794 Sonata in E-flat certainly explores the forte-piano’s capacity for sudden contrasts in dynamics and texture.  Much of the first movement’s chromatics look forward to Beethoven, although the secondary theme suggests light-hearted Mozart with its music-box figures.  The development opens in C Major, and then proceeds further afield when the secondary tune makes an appearance in E Major. The playing from Ms. Arakawa remains pert, crisp, and direct. The Neapolitan key of E Major will provide the home for the second movement, Adagio.  This lovely movement offers […]

CHOPIN, MOZART, LISZT & Verdi – Yulianna Avdeeva, p. – Mirare

CHOPIN, MOZART, LISZT & Verdi – Yulianna Avdeeva, p. – Mirare

A sterling recital by Romantic pianist Yulianna Avdeeena makes strong points. Yulianna Avdeeva = CHOPIN: Fantasie in f minor, Op. 49; MOZART: Piano Sonata No. 6 in D Major, K. 284; LISZT: Apres une lecture du Dante – Fantasia quasi sonata; Aida de Giuseppe Verdi: Danza sacra e duettino finale – Yulianna Avdeeva, p. – Mirare MIR 301, 67:00 (2/19/16) [Distr. by Harmonia mundi/PIAS] ****: This recital by Russian pianist Yulianna Avdeeva (b. 1985) captures the 2010 First Prize Winner of the 16th International Frederyk Chopin Piano Competition in a studio recording from 28-30 September 2015. Her natural sympathy for Chopin exerts itself in her agile rendition of the Fantasie (1841), a work Theodor Adorno once characterized as “a tragically decorative song of triumph.” Chopin took as his impetus a nationalist song Litwinka, a kind of collective hymn of Polish exiles. Avdeeva manages its sectionalized structure with a lyric sense of Chopin’s alternation of poignant, militaristic drama and its innate sense of bel canto. The two dominant affects, zal and tesknota – variants of sadness, nostalgia, and hopeful yearning – form a passionate mix striking to the mind and ear, even by Chopin’s high standards. The constant flow of arpeggios […]