Composer: Robert Schumann
Performer: Emile Naoumoff
Format: FLAC (tracks)
Label: Melism
Catalogue: MLS-CD-020
Release: 2022
Size: 621 MB
Recovery: +3%
Scan: yes
Fantasie in C major, Op. 17
01. I. Durchaus phantastisch und leidenschaftlich vorzutragen – Im Legendenton
02. II. Mässig, durchaus energisch – Etwas bewegter – Viel bewegter
03. III. Langsam getragen – Durchweg leise zu halten – Etwas bewegter
04. Liederkreis, Op. 39: V. Mondnacht (Zart, heimlich) [Arr. for Piano Solo]
Carnaval, Op. 9
05. No. 1. Préambule (Quasi maestoso – Animato – Presto)
06. No. 2. Pierrot (Moderato) – No. 3. Arlequin (Vivo) – No. 4. Valse noble (Un poco maestoso)
07. No. 5. Eusebius (Adagio – Più lento molto teneramente)
08. No. 6. Florestan (Passionato) – No. 7. Coquette (Vivo) – No. 8. Replique (L’istesso tempo)
09. No. 9a. Sphinxes – No. 9b. Papillons (Prestissimo) – No. 10. Lettres dansantes (Presto) – No. 11. Chiarina (Passionato) – No. 12. Chopin (Agitato)
10. No. 13. Estrella (Con affetto – Più presto molto espressivo) – No. 14. Reconnaissance (Animato) – No. 15. Pantalon et Colombine (Presto)
11. No. 16. Valse allemande (Molto vivace) – No. 17. Paganini (Intermezzo. Presto) – Tempo primo ma più vivo
12. No. 18. Aveu (Passionato) – No. 19. Promenade (Con moto)
13. No. 20. Pause (Vivo precipitandosi) – No. 21. Marche des Davidsbündler contre les Philistins (Non allegro – Molto più vivace – Vivo)
The great Bulgarian pianist and composer of Greek origin Emile Naoumoff who was Nadia Boulanger’s last disciple, continues his collaboration with the Parisian label Melism Records presenting a recital entirely dedicated to Schumann’s music. The program consists of two cornerstone works of German Romanticism, the Carnaval, Op. 9, a cycle of 21 “scènes mignonnes” set on four notes, and the Fantasie in C Major, Op. 17.
In the Carnaval, Schumann once more explores his imaginary characters inspired by those of Jean Paul, such as the contrasting personalities of Eusebius and Florestan, in a whirlwind of poetic atmospheres. In the Fantasie, Schumann uses Beethoven as his model, while also declaring his passion for Clara Wieck. The initial theme in C Major is inspired by the initial two letters of Clara’s first name through the German notes nomenclature’s C-A. It is undoubtedly one of the German composer’s greatest works where Emile Naoumoff offers his signature Finale’s coda, in the tradition of the ninetieeth century’s performance practices.