Robert Schumann: Piano Works Llŷr Williams

• Robert Schumann (1810 - 1856): Fantasy Op. 17:
• 1 Schumann: Fantasy Op. 17: I. Durchaus phantastisch und leidenschaftlich vorzutragen 13:31
• 2 Schumann: Fantasy Op. 17: II. Mässig, Durchaus energisch 08:16
• 3 Schumann: Fantasy Op. 17: III. Langsam getragen. Durchweg leise zu halten 10:49
• Papillons, Op. 2:
• 4 Schumann: Papillons, Op. 2: Introduzione and No. 1 00:59
• 5 Schumann: Papillons, Op. 2: No. 2 00:21
• 6 Schumann: Papillons, Op. 2: No. 3 00:50
• 7 Schumann: Papillons, Op. 2: No. 4 00:48
• 8 Schumann: Papillons, Op. 2: No. 5 01:30
• 9 Schumann: Papillons, Op. 2: No. 6 00:56
• 10 Schumann: Papillons, Op. 2: No. 7 00:53
• 11 Schumann: Papillons, Op. 2: No. 8 01:11
• 12 Schumann: Papillons, Op. 2: No. 9 00:44
• 13 Schumann: Papillons, Op. 2: No. 10 01:46
• 14 Schumann: Papillons, Op. 2: No. 11 02:30
• 15 Schumann: Papillons, Op. 2: No. 12 02:19
• Humoreske, Op. 20:
• 16 Schumann: Humoreske, Op. 20: I. Einfach. Sehr rasch und leicht 05:23
• 17 Schumann: Humoreske, Op. 20: II. Hastig 04:21
• 18 Schumann: Humoreske, Op. 20: III. Einfach und zart; Intermezzo 05:04
• 19 Schumann: Humoreske, Op. 20: IV. Innig 02:40
• 20 Schumann: Humoreske, Op. 20: V. Sehr lebhaft 03:42
• 21 Schumann: Humoreske, Op. 20: VI. Zum Beschluss 06:17
• Davidsbündlertänze. Op. 6:
• 22 Schumann: Davidsbündlertänze. Op. 6: I. Lebhaft 01:52
• 23 Schumann: Davidsbündlertänze. Op. 6: II. Innig 01:37
• 24 Schumann: Davidsbündlertänze. Op. 6: III. Mit Humor 01:25
• 25 Schumann: Davidsbündlertänze. Op. 6: IV. Ungeduldig 00:47
• 26 Schumann: Davidsbündlertänze. Op. 6: V. Einfach 01:57
• 27 Schumann: Davidsbündlertänze. Op. 6: VI. Sehr rasch 01:57
• 28 Schumann: Davidsbündlertänze. Op. 6: VII. Nicht schnell 03:23
• 29 Schumann: Davidsbündlertänze. Op. 6: VIII. Frisch 00:57
• 30 Schumann: Davidsbündlertänze. Op. 6: IX. Lebhaft 01:29
• 31 Schumann: Davidsbündlertänze. Op. 6: X. Balladenmäßig; Sehr rasch 01:46
• 32 Schumann: Davidsbündlertänze. Op. 6: XI. Einfach 01:35
• 33 Schumann: Davidsbündlertänze. Op. 6: XII. Mit Humor 00:43
• 34 Schumann: Davidsbündlertänze. Op. 6: XIII. Wild und lustig 03:34
• 35 Schumann: Davidsbündlertänze. Op. 6: XIV. Zart und singend 01:57
• 36 Schumann: Davidsbündlertänze. Op. 6: XV. Frisch 01:58
• 37 Schumann: Davidsbündlertänze. Op. 6: XVI. Mit gutem Humor 01:28
• 38 Schumann: Davidsbündlertänze. Op. 6: XVII. Wie aus der Ferne 04:23
• 39 Schumann: Davidsbündlertänze. Op. 6: XVIII. Nicht schnell 01:58
• Nachtstücke, Op. 23:
• 40 Schumann: Nachtstücke, Op. 23: I. Mehr langsam, oft zurückhaltend 05:30
• 41 Schumann: Nachtstücke, Op. 23: II. Markirt und lebhaft 06:48
• 42 Schumann: Nachtstücke, Op. 23: III. Mit grosser Lebhaftigkeit 03:52
• 43 Schumann: Nachtstücke, Op. 23: IV. Einfach 04:01
• Faschingsschwank aus Wein, Op. 26:
• 44 Schumann: Faschingsschwank aus Wein, Op. 26: I. Allegro. Sehr lebhaft 09:30
• 45 Schumann: Faschingsschwank aus Wein, Op. 26: II. Romanze 02:46
• 46 Schumann: Faschingsschwank aus Wein, Op. 26: III. Scherzino 02:18
• 47 Schumann: Faschingsschwank aus Wein, Op. 26: IV. Intermezzo 02:25
• 48 Schumann: Faschingsschwank aus Wein, Op. 26: V. Finale 05:56
• Total Runtime 02:32:42

Info for Robert Schumann: Piano Works

Robert Schumann knew exactly who was listening in secret to his Fantasie in C major (Op.17) when he inscribed this verse by the poet and philosopher Friedrich Schlegel at the head of the published score in 1839. When he composed the magisterial work in 1836 Schumann was in a state of utter despair: he wanted marry the brilliant young pianist Clara Wieck with whom he was secretly engaged but who was nine years his junior. Although he’d known her as a little girl – and even lived in the same house in Leipzig when studying with her possessive father Friedrich – an innocent friendship gradually developed by November 1835 into a deep and passionate love. Herr Wieck was furious that such a dangerous and – to him – impossible liaison had developed right under his nose and now did everything in his power to keep the two apart. The full story of his desperate campaign is harrowing and often degrading for Schumann; it wasn’t until September 1840, after surmounting all sorts of legal obstacles, that the couple finally could marry – on the eve of Clara’s 21st birthday. But an unintended consequence of their enforced separation was that Schumann poured out his deepest feelings – from anguish and despair to ecstasy and hope – in a torrent of piano works which are effectively a series of private letters to Clara.

She was thus enabled to follow his emotions, yearnings and exhortations as if reading a series of coded letters – and we are the lucky eavesdroppers perched on her shoulders as she scans the pages with rapture and excitement, recognising – in the Fantasy – quotations from Beethoven’s iconic song-cycle An die ferne Geliebte (To the distant beloved) as well as other private musical messages. Schumann told her that it was ‘the most passionate thing I have ever written – a profound lament for you’.

"the performances are always immaculate, their working out totally lucid; it’s unquestionably thoughtful, authoritative playing." (The Guardian)

Llŷr Williams, piano

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