Gian Paolo Chiti | Frauenliebe und Leben/Dichterliebe

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Frauenliebe und Leben/Dichterliebe

by Gian Paolo Chiti

A brilliant reworking of two song cycles by Robert Schumann for piano solo, realized and performed by one of Italy's finest pianists and composers.
Genre: Classical: Piano solo
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  Song Share Time Download
1. Frauenliebe und -leben, Opus 42
18:23 $0.99
2. Dichterliebe, Opus 48 1. ''Im wunderschönen Monat Mai"
1:22 $0.99
3. Dichterliebe, Opus 48 2. ''Aus meinen Tränen sprießen"
0:47 $0.99
4. Dichterliebe, Opus 48 3. ''Die Rose, die Lilie, die Taube, die Sonne"
0:34 $0.99
5. Dichterliebe, Opus 48 4. ''Wenn ich in deine Augen seh"
1:18 $0.99
6. Dichterliebe, Opus 48 5. ''Ich will meine Seele tauchen"
1:19 $0.99
7. Dichterliebe, Opus 48 6. "Im Rhein, im heiligen Strome "
1:48 $0.99
8. Dichterliebe, Opus 48 7. "Ich grolle nicht "
1:37 $0.99
9. Dichterliebe, Opus 48 8. "Und wüßten's die Blumen, die kleinen"
1:21 $0.99
10. Dichterliebe, Opus 48 9. "Das ist ein Flöten und Geigen "
0:56 $0.99
11. Dichterliebe, Opus 48 10. "Hör' ich das Liedchen klingen "
1:44 $0.99
12. Dichterliebe, Opus 48 11. "Ein Jüngling liebt ein Mädchen"
0:53 $0.99
13. Dichterliebe, Opus 48 12. "Am leuchtenden Sommermorgen"
2:18 $0.99
14. Dichterliebe, Opus 48 13 "Ich hab' im Traum geweinet "
1:23 $0.99
15. Dichterliebe, Opus 48 14 "Allnächtlich im Traume "
1:26 $0.99
16. Dichterliebe, Opus 48 15. "Aus alten Märchen winkt es "
2:05 $0.99
17. Dichterliebe, Opus 48 16. "Die alten, bösen Lieder " by Gian Paolo Chiti, piano
3:23 $0.99
Downloads are available as MP3-320 files.


Album Notes
Gian Paolo Chiti’s new versions for Piano solo of Dichterliebe and Frauenliebe und Leben were the result of years of performing these cycles in concert, notably with his wife the Mezzo-Soprano and Musicologist Patricia Adkins Chiti.

His initial contact with this music as a young man was primordial to the creation of these new versions :

« I know this cycle from when I began to study music. I remember having played it many times and inserting the vocal part, automatically, into my piano playing. So from a very early age I was aware that this particular Schumann work could be played with just the piano completing the voice, because in the cycle the vocal part completes and merges with the piano part. In many of the lieder in this cycle the principle melody comes from the piano and is then passed to the voice and then returns to the piano in a continual and ongoing exchange of melody and sound. Often it is the piano that ends the lied bringing everything to a close, and this is current throughout the entire cycle, and so the piano completes the poetic inspiration. »

Chiti’s own approach to composition was also an important factor in the conception of this work :

« When I write I instinctively feel the need to think back to all the forms of music which have lived before my times: polyphonic forms and the re-birth of tonality at the beginning of the nineteenth century and including all the timbric research and experimentation that has taken up much of the last thirty years. As far as I am concerned all the experiences and experimentation of the first decades of the twentieth century belong to the past; in a certain sense they are already part of the tradition of Western Music, belong to history and as such are open for re-invention. I never forget Stravinksy’s words: Real traditions never die but are part of the present. »

In these terms, Gian Paolo Chiti prefers not to see these works as « transcriptions », but as « elaborazioni » or «reworkings» :

« From these considerations I began to think about preparing a work for solo pianoforte with the idea of "bringing about another composition" completely separate and musically independant from the lieder cycle, and with its own poetic ethos. This has been done so that the work can be presented and performed in concert. For those who already know the cycle (and this is rarer today than ever before since it was written) many believe they are listening to another new Schumann work and do not realise that this is a true presentation of the cycle with the voice part included. »

Dichterliebe and Frauenliebe und Leben have been performed by Gian Paolo Chiti and others throughout Europe and in the United States. They have been recorded by Gian Paolo Chiti, who is also available to present these works in concerts, coupled with improvisations in the style of the Great 19th Century virtuosi.

Gian Paolo Chiti, born in Rome, studied piano, violin and composition, beginning his music studies when he was four years old. He made his first public performance at a very young age, performing his own piano compositions. At ten years old, he entered Santa Cecilia Music Conservatory in Rome, where he continued his studies of piano and composition, graduating while still very young. He attended proficiency courses with Arturo Benedetti Michelangeli and with Carlo Zecchi at the National Academy of Santa Cecilia, earning his degree in chamber music. He was prize winner in both the Treviso piano and the Busoni competitions. He then chose to devote his professional career to composition.

He began teaching composition in Italian conservatories and has held his post as head of Composition at Santa Cecilia Music Conservatory in Rome since 1984; he was deputy Director of the Conservatory for ten years beginning in 1989. During that time, numerous talented young people and winners of international competitions emerged from his classes.

He has given Master Classes in composition, history of contemporary composition related to antique music, from 15th and 16th Century Gregorian to Polyphonic, as well as musical analysis for composers, musicologists and artists in many countries in Europe, Asia and the U.S.A. To name a few: Villa Reale, the Lisbon Conservatory in Portugal, the National Conservatory of Bejjing in China, the Havana Conservatory in Cuba, the Cultural Centre of Manila in the Philippines, the University of Charleston in South Carolina, U.S.A.

Gian Paolo Chiti has achieved international recognition for the programming of his music in various international festivals and events such as Maggio Musicale Fiorentino in Florence, Biennale in Venice, Edinburgh Festival, Lutoslawski Festival, Cantiere Internazionale of Montepulciano, Nuova Consonanza, Incontri Musicali Romani, Chopin Festival in Poland, Sacred Music Festival in Chartres, France, Teatro Nacional di Caraccas in Venezuela, the Public Season at the Moscow Conservatory. Among his best known compositions are “Concert for Violin and Orchestra”, recorded with the RAI Symphonic Orchestra in Turin, “Konzertstuck” for orchestra, commissioned by the Abruzzese Synphonic Orchestra, “A Dylan Thomas”, a ballet presented at the Teatro la Fenice in Venice, “Trivium” for voice and orchestra, commissioned by the Scottish Chamber Orchestra, “Nachtmusic”, for the Royal Festival Hall in London, “Pilatus e Maria”, an Oratorio for Vatican Radio, choral works for several Roman cathedrals and the “Artists’ Mass”. He has created numerous works for chamber groups, like “Rencontres”, performed by the Solisti Veneti, “Breakers”, for harp quartet, performed at the Little Carnegie Hall in New York as well as solo pieces for piano, violin, cello, flute, guitar and harp. He was Guest Composer, with commissions for new works for groups in Europe, Asia, Russia and the U.S.A.

Gian Paolo Chiti wrote the “Laudation Processional Hymn, in Honour of the Blessed Virgin Mary” (for chorus, wind and percussion instruments) on occasion of “Maria Mater Mundi” in the Paolo VI auditorium at the Vatican for the Grand Jubilee in the year 2000. He completed a new symphonic work “Envers” which was premiered in March 2003 by the Orchestra of Rome and Lazio. His new string quartet “En ecoutant la Nuit” (now published by Musik Fabrik) was premiered by the Xenia Ensemble in Rome in December 2002.

Most of his works have been published and/or recorded on CD. BMG - Ricordi – Sonzogno – Bérbèn – Edipan (Italy) – Reimers (Sweden) – Lyra Music – MMB Publications (U.S.A. ) – Chappells (U.S.A. ). He works also as both a television and cinema film score composer.

He taken part in the juries of international competitions for many years as well as being consultant for festivals, exhibitions, events and courses of music studies. Many of his articles written on musicology have been published in international magazines like The American Liszt Society. He has given radio lectures for the Radio Nacional in Spain, Radio France and the BBC and has taken part in numerous programs for RAI, the Italian national radio and TV Company.

He is member of the Artist Committee of the Incontri Musicali Romani Festival, (contemporary music), Board of Directors of the Adkins Chiti Donne in Musica (Women in Music) Foundation, associated with UNESCO and the European Music Council.



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