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Diane Andersen | Schumann Schubert Beethoven

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Beethoven Schubert Schumann

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Classical: Piano solo Classical: Piano solo Moods: Instrumental
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Schumann Schubert Beethoven

by Diane Andersen

The Belgian pianist Diane ANDERSEN plays masterpieces by Schubert, Beethoven and Schumann.
Genre: Classical: Piano solo
Release Date: 

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  Song Share Time Download
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1. Arabeske in C Major Op.18
6:26 $0.99
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2. Kinderszenen in G Major Op.15: 1. Von Fremden Ländern Und Menschen
1:28 $0.99
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3. Kinderszenen in D Major Op.15: 2. Kuriose Geschichte
1:10 $0.99
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4. Kinderszenen in B Minor Op.15: 3. Hasche-Mann
0:33 $0.99
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5. Kinderszenen in D Major Op.15: 4. Bittendes Kind
0:48 $0.99
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6. Kinderszenen in D Major Op.15: 5. Glückes Genug
1:32 $0.99
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7. Kinderszenen in a Major Op.15: 6. Wichtige Begebenheit
0:49 $0.99
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8. Kinderszenen in F Major Op.15: 7. Träumerei
2:13 $0.99
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9. Kinderszenen in F Major Op.15: 8. Am Kamin
1:08 $0.99
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10. Kinderszenen in C Major Op.15: 9. Ritter Vom Steckenpferd
0:46 $0.99
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11. Kinderszenen in G-Sharp Minor Op.15: 10. Fast Zu Ernst
1:29 $0.99
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12. Kinderszenen in E Minor Op.15: 11. Fürchtenmachen
1:52 $0.99
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13. Kinderszenen in E Minor Op.15: 12. Kind Im Einschlummern
2:00 $0.99
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14. Kinderszenen in G Major Op.15: 13. Der Dichter Spricht
1:54 $0.99
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15. Klavierstücke in E-Flat Minor D.946: 1. Allegro Assai
12:24 $0.99
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16. Klavierstücke in E-Flat Major D.946: 2. Allegretto
11:50 $0.99
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17. Klavierstücke in C Major D.946: 3. Allegro
5:30 $0.99
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18. Bagatelles in G Major Op.126 N°1 Andante Con Moto, Cantabile E Compiacevole
3:00 $0.99
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19. Bagatelles in G Minor Op.126 N°2 Allegro
2:57 $0.99
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20. Bagatelles in E-Flat Major Op.126 N°3 Andante, Cantabile E Grazioso
2:51 $0.99
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21. Bagatelles in B Minor Op.126 N°4 Presto
4:11 $0.99
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22. Bagatelles in G Major Op.126 N°5 Quasi Allegretto
2:10 $0.99
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23. Bagatelles in E-Flat Major Op.126 N°6 Presto - Andante Amabile E Con Moto
3:30 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The pieces presented here, beside being absolute master pieces, reflect those composers that Schumann held
in high esteem: Beethoven and Schubert. If the true value of Beethoven and Schumann's compositions were
recognized during the composers lifetime, it was not the case with Schubert's last Impromptus which Brahms
saved from oblivion, having them printed in 1868.

Schumann - Scenes of Childhood op. 15 (1838).
Chosen by Schumann among approximately 30 pieces written at the same time as the tumultuous
Kreisleriana and Fantasie op. 17, these 13 small pieces made the delight of Clara. She could hide in this
magic world that Robert had expressed to her as a young child in 1828.
The first piece is certainly an homage to J. S.Bach with the quotation: b-a-c-h in the three first bars which are
also bringing Clara's motive (b-g-f#-e-d). Liszt loved these pieces and wrote to Schumann on June 5th,
1839: "Concerning the "Kinderszenen", I feel them as one of the greatest enjoyments of my life."
The Arabesque op.18, in the form of a rondo with two verses, is a variant of abandoned pieces for Scenes of
Childhood. The tonality is C major, same as the Fantasie op. 17, which symbolizes Clara. We notice the
codas "The poet speaks" and "zum Schluss", a kind of moralizing or dreaming ended, always of intense
poetic inspiration.
Andersen's interpretation is very much influenced by Clara Schumann's indications.

Schubert - Drei Klavierstücke D. 946, op. posth. (1828).
The first is in e flat minor, dark and dramatic tonality, the second is opposite, in E flat major, the key of
sweetness and melancholy. Both are in rondo form with three refrains and two verses. Exactly the same
structure as Schumann's Arabesque. B. Massin suggests the third Impromptu in C major to be like a
conclusion of the two previous cycles of Impromptus D899 and D935, starting in c minor. The refinement of
the modulations here is exquisite.

Beethoven - Six Bagatelles op. 126 (1824).
Schumann admired the last works of the Master of Bonn. So did the critics of the time, who didn't seem to
understand the title of "Bagatelles" for pieces they were considering as "little master pieces" and more over
"making them sound like music was not given to the mere amateur."
Beethoven himself considered this "Cyclus von Kleinigkeiten" being the best of the kind he ever wrote. If
some are more lyrical (1-3-5) other are rather animated (2-4-6), but they all have a strict structure and the
tonal link between them gives them their unity as a cycle.

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