Composer: Clara Schumann, Robert Schumann
Performer: Margarita Höhenrieder
Format: FLAC (tracks)
Label: Solo Musica
Release: 2019
Size: 976 MB
Recovery: +3%
Scan: yes
Clara Schumann:
Sonate für Klavier g-moll
01. I. Allegro
02. II. Adagio
03. III. Scherzo
04. IV. Rondo
Robert Schumann:
Papillons, Op. 2
05. No. 1 in D Major
06. No. 2 in E-Flat Major
07. No. 3 in F-Sharp Minor
08. No. 4 in A Major
09. No. 5 in B-Flat Major
10. No. 6 in D Minor
11. No. 7 in F Minor
12. No. 8 in C-Sharp Minor
13. No. 9 in B-Flat Minor
14. No. 10 in C Major
15. No. 11 in D Major
16. No. 12 in D Major
Clara Schumann:
Romances (3), Op. 11
17. No. 1, Andante
18. No. 2, Andante – Allegro passionato
19. No. 3, Moderato
Robert Schumann:
Sonate Nr. 2 g-moll, op. 22
20. I. So rasch wie möglich
21. II. Andantino
22. III. Scherzo. Sehr rasch und markiert
23. IV Rondo. Presto
Margarita Höhenrieder writes of her new release: “After just a few notes on this exceptionally fine Pleyel grand piano in Kellinghusen, north of Hamburg, in a collection of Eric Feller’s, I found myself plunged into a different century. This pianoforte was built in Paris in about 1855 and professionally restored using historical materials and methods. It is absolutely uniform with the instrument that Chopin possessed, and is of typically French elegance – in sound as well as in appearance. It reflects the soul of the Romantic era. Apart from that, it offers an authentic testimony to the sound of the instruments that Fryderyk Chopin and Robert and Clara Schumann played. Clara’s father, Friedrich Wieck, gave his daughter a Streicher grand, built in Vienna. Personally, I saw this Pleyel as the ideal instrument on which to play the works of Robert and Clara Schumann as authentically as possible while also matching as precisely as possible the exacting demands they place on piano technique. The constant aspiration in today’s music world towards ever larger and more versatile instruments and architecturally and acoustically challenging auditoria meant that I was in search of a convincingly authentic sound for compositions written in and around the 1830s, while also looking out for a suitable performance location – comparable to a mid-19th-century salon and differing from today’s concert halls.”