Hommage a Schumann
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Label: Brilliant Classics
Cat No: 95936
Format: CD
Number of Discs: 1
Release Date: 16th August 2019
Contents
Works
Hommage a Robert Schumann, op.15dFantasiestucke (3), op.73 (arr. for A Reimann for clarinet, flute, harp and 2 violas)
Gesange (6), op.107 (arr. Aribert Reimann)
Stucke (6) in kanonischer Form (Studies in canonic form), op.56 (arr. Theodor Kirchner)
Nachtstuck for clarinet, cello and piano
Artists
Kammerata LuxembourgWorks
Hommage a Robert Schumann, op.15dFantasiestucke (3), op.73 (arr. for A Reimann for clarinet, flute, harp and 2 violas)
Gesange (6), op.107 (arr. Aribert Reimann)
Stucke (6) in kanonischer Form (Studies in canonic form), op.56 (arr. Theodor Kirchner)
Nachtstuck for clarinet, cello and piano
Artists
Kammerata LuxembourgAbout
Few composers from the 19th century have exercised so potent an influence upon composers of our time as Robert Schumann. His abrupt changes of mood and intense, passionate commitment to individual expressive states have seized the imagination of many composers as well as listeners. Not the least of them is Schumann’s fellow German Aribert Reimann. In arranging the Fantasiestücke, op.73, Reimann altered not a note of the clarinet part while arranging the piano accompaniment for the unusual combination of flute, a harp and two violas, which enables him to explore both the sombre timbres and the more ethereal hues of the score.
The Op.107 songs are united by both a theme of unrequited love and a mood of wistful other-worldliness, which Reimann accentuates with an often-Expressionist recasting of the piano part for string quartet. The other original work here is the collection of canonic pieces originally written for a pedal piano and arranged by Schumann’s contemporary Theodor Kirchner. Meanwhile, the two contemporary responses to Schumann are undertaken in a spirit of the most sincere love and homage. Kurtág’s instrumentation for clarinet, viola and piano refers back to the Op.132 Märchenerzählungen – fairy tales – and he peppers his score with both literary allusions and references back to the object of his homage. Jörg Widmann likewise evokes Schumann’s Op.23 Nachtstücke in his own trio for clarinet, cello and piano. Anyone fearful of new music need not hesitate: Widmann insinuates himself into a world of Romantic melancholy with uncanny skill.
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